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U,eHTp AMceflOpBi ^ymcaH (CaHKT-IIeTep6ypr, 
Poccna) 

om ff.A.M ok-Kom6 [1979], nocne Jlwiucm Poseuoepe 
(1930-e), HpMbiffyHKcm (1900-e) u Aucedopu 
JJyHKaH (1877) 

MeTO^HKa oSyneHHH [TexHHKa ynehHbix 3aHHiHH] 
b IIlKOJie Tamja Aficeflopbi ,H,yHKaH 

by D.A.McComb [1979], after Lillian Rosenberg 
(1930's), Irma Duncan (1900's) and Isadora Duncan 
(1877) 

The Classroom Technique Of The School Of 
Isadora Duncan Dancing 

http://idvm.freevar.com/texts/bibe/rosenberg.htm 

http://idvm.chat.rU/texts/bibe/rosenberg.htm#begin 

Ilod pedaKifueu Tpyjib O.B. 

[[. A.MaK-KoM6: "HHCTpyKpiM g jia ynebHbix 3amiTHH 
b KJiacce no TexnriKe Aiicenopbi /JymcaH, KaK Koraa- 
to MeHa obynana moh ne^aror JlmmaH Po3eH6epr, 
KOTOpaa go Toro 6biJia yHenimeii HpMbi ^ymcaH. A 
Hanncana 3Ty HHCTpyKnmo b 1979 ro,gy no naMara 
mohx KJiaccoB b Hbro-Hopice c JlnnnaH Po3eH6epr, 
KOTOpaa odynanacb y HpMti ^ymcaH b 1930-x ro^ax." 

D.A.McComb: "The classroom instruction of the 
Isadora Duncan Technique as taught by my teacher, 
Lillian Rosenberg, who was taught by Irma Duncan. I 
wrote it in 1979from memory of my classes with 
Lillian Rosenberg in NYC who was a pupil of Irma 
Duncan's in the 1930's." 

HHCTpyKu,na nepeBe^eHa Ha pyccKnn a3biic, 
OTpe/jaKTnpoBaHa, flonormeHa njunocTpapnaMH n 
KOMMeHTapHaMH. 

Ca n tan - nem ep 6ypz 2016 


1 




















. TexnuKa yuednbix 3annmuu [Memodum ooynemin] e Ulnone manua Aucedopu 
flyman; om fl.A.M uk-Komo [1979], nocne Jlujiuan Po3en6epz (1930-e), HpMbi flyman 
(1900-e) u Aitcedopu flynnan (1877); Tlep. c amji. u npeducn. A. llanoe; ITod ped. O. 
Tpyjib. - C116.: H3d. flyman-Ifenmp, 2016. 

"KnaccHKa-MoacpH" KyjibTypHbin U,eHTp Hhctbix HcKyccTB hmchh Anccaopbi /(ymcaH 
[ZlyHKaH-UcHTpj 

ot /J.A.Maic-KoMd [1979], nocae JlnjinaH Po3eH6epr (1930-e), HpMbi /JymcaH (1900-e) 
n Anceaopbi flyHKaH (1877) 

McToaHKa odyneHna [TcxHHKa ynedHbix 3aHaTnn] b IllKOJie Tamja Anceaopbi /lymani 

by D.A.McComb [1979], after Lillian Rosenberg (1930's), Irma Duncan (1900's) and 
Isadora Duncan (1877) 

The Classroom Technique Of The School Of Isadora Duncan Dancing 

http://idvm.chat.rU/texts/bibe/rosenberg.htm#begin 

TIod pedaKuueu Tpyjib O.B. 

/J.A.Maic-KoMd: "HHCTpyKpmi ana ynedHbix 3aHaTnn b KJiacce no TexHHKe Anceaopbi 
/(ymcaH, Kax icoraa-TO MeHa odynana moh neaaror JlnnnaH Po3eHdepr, KOTOpaa ao Toro 
6bma yHCHHueii HpMbi flyHicaH. A Hanncana 3Ty nHCTpyicii,nio b 1979 roay no naMara 
mohx KJiaccoB b Hbio-Hopice c JlnnnaH Po3eH6epr, KOTOpaa odynanacb y HpMbi /lymcaH 
b 1930-x roaax." 

D.A.McComb: "The classroom instruction of the Isadora Duncan Technique as taught 
by my teacher, Lillian Rosenberg, who was taught by Irma Duncan. I wrote it in 1979 
from memory of my classes with Lillian Rosenberg in NYC who was a pupil of Irma 
Duncan's in the 1930's. " 

HHCTpyKirna nepeBeaeHa Ha pyccKnn a3biK, OTpeaaKTHpOBaHa, aononHCHa 
namocTpan,naMH n KOMMeHTapnaMH. 

Cai l i<m- TIemep oypz, Poccuh (2016) 


2 




• nPE^HCJIOBHE == PREFACE • 


TpeTHH, 3aKn k>h htch bHbi h tom no TexHHKe n mctoahkc oGyncHiia TaHny ot Ance^opBi 
flymcaH, i icpc3 JlrntnaH Po3eH6epr, nocne Hpivibi ^yHKaH. PyKOBOACTBO He cjienycT 
CTporoMy aKa/ieMnnecKOMy H3JioaceHHio, n aBJiaeTca, b nepByio onepeAB, cboOoahbim 
nepecKa30M npopecca yneOHbix 3aHaTHH. TeM He MeHee, tckct HMeeT 6ojn>myio 
H,eHHOCTB, nOCKOJIBKy ApyrHX ayTCHTHHHbIX CBHACTCabCTB OCTaJIOCb OHCHb MaJIO. K 
TOMy ace, MaTepnaji aBJiaeTca n o a tb c p >k a c h h c m HaejiCAOBaHna h nepcAann 
ABHraTejibHOH CHCTeMbi i icpc3 HCCKOJibKO noKOJieHHH. ,H,.A.MaK-KoM6 3anHcajia 
AaHHyio HHCTpyKH,Hio b 1979 roay, b 1983-m 3aKpenHJia cboh aBTOpCKHe npaBa nepe3 
perHCTp TXu, h bhjiotb ao 2011 roaa 6e3ycneuiHO nbiTajiacb HaiiTH H3AaTejia. B 2011 
roay pyKonHCB 6braa OTpeAaKTHpOBaHa, h, non™ nepe3 32 roaa, MaK-KoM6 
nonbiTajiacb onyOjiHKOBaTb MaTepnajibi A-na OTKpbiToro AOCTyna Ha WikiMedia.Org. B 
pe3yjibTaTe tckct 6biji oOHapyaceH b apxHBe cbo6oahoh OhOjihotckh FreeLibs.Org. 
nepBOHanajibHbie HJiJHOCTpau,HH h aBTOpCKoe oc|)opMneHHe yTpaHCHbi. O cyAtOe aBTOpa 
b HacToaigHH MOMeHT HHnero He H3BecTHO. IlepeBOA OTpeAaKTHpOBaH, AonojiHeH 
HJimocTpapHaMH h komm c h t ap h a mh. Ha pyccxoM a3biice ny6aHKycTca BnepBbie. 
H3AaHHe aapccoBaHO c n c h h an h ctb m b oOaacTH TaH hc Baa b ho ro HCKyecTBa. [Ahapch 
naHOB] 

The third, final volume on equipmen t and a technique of training in dance from Isadora 
Duncan, through Lilian Rosenberg, after Irma Duncan. The management doesn't follow 
a strict academic statement, and is, first of all, free retelling of process of studies. 
Nevertheless, the text is of great value as other authentic certificates remained very 
little; and, besides, material is confirmation of inheritance and transfer of motion system 
through several generations. D.A.McComb has written down this instruction in 1979, in 
the 1983rd has affirmed the copyright through the register TXu, and up to 2011 
unsuccessfully tried to find the publisher. In 2011 the manuscript has been edited, and, 
almost in 32 years, D.A.McComb has tried to publish materials on WikiMedia.Org for 
open access. As a result the text has been found in archive offree library FreeLibs.Org. 
Initial illustrations and author's registration are lost. The destiny of the author at the 
moment isn't known. The translation is edited, added with illustrations and comments. In 
Russian it is published for the first time. The edition is addressed to experts in the field 
of dancing art. [Andrey Panov] 




3 



• CO^EP^KAHHE == CONTENTS • 


TexHHKa [ Technique ] 

0. BBE^EHHE [ INTRODUCTION ] 

0-01. Teopnn AnceAOpfci o TaHpe [ Theories of Isadora on the Dance ] 

* AonojiHemre aBTOpa [ author's addition ] 

0-02. IIoau TT uu Hor [ Positions of the Feet ] 

* oduacHeHne aBTOpa [ author's explanation ] 

0-03. BbipaBHHBaHHe u abh>kchhc [ Alignment and Movement ] 

Abh/KChhc [ Movement ] 

1. CTAHOK [ BARRE ] 

1-01. BBe^eHue b Ynpamremui c 6appe [ Introduction to Barre Exercises ] 
Eappe ynpamremni b KJiacce [ Classroom Barre Exercises ] 

1-02. HaKJiOHbi Bncpcu n mrum [ Forward and backward Bending ] 

1-03. Maxu Horoir BnepeA [ Front Leg Swings ] 

1-04. Maxu hotoh EoKOBbie [ Side Leg Swings ] 

1-05. Maxu hotoh Ko m6 h h h po bth h bic [ Combination Leg Swings ] 

1-06. Iljiue [ Pliez ] 

1-07. MaaTHHK [ Pendulum ] 

1-08. TopH30HTanBHBie abh>kchm5i [ Horizontal ] 

1-09. no,gT>eM Ha TpH toukh [ Three Point Rise ] 
nocneflOBaTejiBHOCTB [ Sequence ] 

1-10. EoKOBbie H3rH6bi pyKH [ Side Arm bends ] 

1-11. noAteMbi Horn CMemra BnepeA [ Front Alternating Leg Lifts ] 

1-12. noAteMbi Horn CMemra B6ok [ Side Alternating Leg Lifts ] 

1-13. EpocoK Horn KoneHO k rpygH [ Knee to Chest Leg Throw ] 

1-14. EpocoK Horn nepeMemeHHe BnepeA [ Drawing Forward Leg Throw ] 
1-15. Ynpa/KHCHHC ApreHTHHCKoe TaHro [ Argentine Tango Exercise ] 
1-16. Ta3o6eApeHHaa oceBaa Harpy3Ka [ Hip thrust ] 

1-17. neTJw / ,Z],BOHHaa neTJia [ Hinge/Double Hinge ] 

1- 18. 3aKpyuHBaHHe [ Pivot ] 

2. LHMHACTHKA [ GYMNASIUM ] 

2- 01. rHMHacTHHCCKHC ynpa>KHCHHa [ Gymnastic Exercises ] 

2-02. YnpaacHeHHa pyicaMH [ Arm Exercises ] 

Maxu pyKoir [ Arm Swings ] 

2-03. YnpaacHeHHa Pyxa b6ok [ Side Arm Exercises ] 

CKpem,HBaHHe pyKH b6ok [ Side Arm Cross ] 

2-04. noACKOK [ Bobbing ] 

2-05. HaKJiOH [ Slant ] 

2-06. nepeicaTbiBaHHe Ten a [ Body Roll ] 

2-07. Tpu toukh TaHpa [ Three Point Dance ] 

2-08. npbDKKH [ Jumps ] 

2-09. JlaryuiKH [ Frogs ] 

2-10. EoKOBbie tojihkh [ Side kicks ] 

2-11. Ho>khh ttb t [ Sissors ] 


4 



2- 12. np&DKOK Bo3BpaT Ha MecTO [ Jump Turns in Place ] 
np&DKOK c noBOpOTOM [ Jump Turns ] 

3. TAHEIJ, [ MOVEMENTS ] 

3- 01-1. YnpaacHemra Ha nony c 1 no 7 [ Floor Exercises 1 through 7 ] 

3-01-2. YnpaacHemra b U,eHTpe 3ana [ The Center ] 

3-02. IlporyjiKa [ The Walk ] 

3-02-1. XoA&6a [ Walking ] 

3-02-2. IlporyjiKa BapnapHH 1-9 [ Variations 1-9 ] 

3-03. Baji&CHpOBaHHe [ Waltzing ] 

3-03-1. BajiBCOB&iH mar [ Waltz Step ] 

IJocneflOBaTejiBHOCTB [ Sequence ] 

3-03-2. BajiBCHpOBamre mma [ Waltzing Backward ] 

3-03-3. Baji&CHpOBaHHe Ha MecTe [ Waltzing in Place ] 

3-03-4. Ban&CHpOBaHHe no anaroHaim nepe3 KOMHaTy [ Diagonal Across the Room 
Waltzing ] 

3-03-5. BanBCOB&iH noBOpOT [ Waltz Turn ] 

3-03-6. Ban&coBoe hbh'/KChhc ana rpau,HH h OanaHca [ Waltz Movement for Grace and 
Balance ] 

3-04. LUar IlojiBKa [ Polka Step ] 

3-05. YnpyrHH 6er [ Bouncy Run ] 

3-06. MaxoB&iH mar [ Swing Step ] 

3-07. Bpamemre (ynpamremni 1 h 2) [ Twirl (exercises 1&2) ] 

# 3. E&iCTpoe Bpam,aTeji&Hoe hbh/KChhc [ Rapid Twirl Movement ] 

3-08. Ilp&DKOK c noBOpOTOM Ha MecTe [ Jump Turns in Place ] 

3-09. LUar b p&iraHCKOM TaHpe [ Gypsy Dance Step ]] 

3-10. PyccKHH mar [ Russian Step ] 

3-11. Ckoji b>KC hhc b Ma3ypxe [ Mazurka Slide ] 

3-12. Eer [ Run ] 

3-12-1. IJoackok [ Skip ] 

3-12-2. Eer - Eer - IloacKOK [ Run - Run - Skip ] 

Eer [ The Run ] 

3-12-3. Jlp&DKOK [ Leap ] 

3-13. Onryp&i TaHarpa [ Tanagra Figures ] 

3-14. Jleaca CrnDKemie h IJoAueM [ Lying Down and Rising ] 

H 3 nono>KCHMa Jleaca Chh>kchhc h lloaBCM (noa 'Tpe3&i JIio6bh" JlncTa) [ Lying 
Down and Rising (to Liebestraum) ] 

3-15. /l,BH>KeHHH pyx h Ynpa>KHCHiia jijis i naabncB [ Arm Movements and Finger 
Exercises ] 

IJoKammaHHe pyxaMH [Swaying of Arms ] 


5 



• BBE^EHHE == INTRODUCTION • 


0-01. TeopHH Ahceaopbi o TaHpe [ Theories of Isadora on the Dance ] 

"Bee aBHacemie H a 3eMJie peryanpyeTca 3aKOHaMH rpaBHTapHH, nyreM npHTaaccrma n 
OTTaJIKHBaHHil, COnpOTHBIICHHa H nOaaTJIHBOCTH, - 3TO TO, HTO COCTaBHaiOT pHTM 
TaHpa." 

"nepBHHHBie HJIH (])yHaaMCHTaribHb[C aBIT/KCHMa aOHHCHbl HMeTB CeMeHa, H3 KOTOpbIX 
6yacT pa3 bhb amca Bee apyrne aBH>KCHHa, h xaacaoe, b cboio oncpcat., hto6bi poaHTb 
apyrne b OecxoHemiOH noejieaoBaTejibHOCTH eipe Oonee bbicokhx smophh, Mbicaeh h 
Haem" 

(*) O /],HOHHce y ,II,yHKaH H3 CTaTBH "HcKyccTBO TaHpa": ".3 mhoto H3ynajia 
H3o6pa3HTejibHbie aoxyMeHTbi Bcex BpeMeH h Bcex bcjihkhx x ya o>i<hhk o b, ho HHKoraa 
He BHaena b hhx H3o6paaceHHH cyipecTB, xoaaipHx Ha xoHHHxax naabpeB hjih 
noaHHMaiomHx Hory Bbime tojiobbi; 3th ypoanHBbic (jianbiHHBbie no3bi h asHaceHna 
HHKoraa He MoryT nepeaaTb to cocToamie 6ecco3HaTejibHoro aHomicmiecxoro 3KCTa3a, 
XOTOpblH HCOdxOaHM B TaHU,OBHJ,HH,e." 

"OaHH MO/KCT OTaaTbca ayxy TaHpa h TaHpcBaTb caMy Beipb (* ,II,hohhc); a apyroh 
MOHceT co3epu,aTb ayx TaHpa - h TaHucBaTb Tax, xax 6yaTO oh paccKa3biBaeT HCTOpHio 
(* AnojuiOH). 

(*) A. AyHKaH: "...aBH/KCHHa HCJlbBa BbiayMBIBaTB, H 306 peTaTb; HX Haao OTKpBIBaTB 
TOHHO Tax >KC, XaX B My 3 bixe JHOaH OTXpblJIH rapMOHHH, HO He H 306 peJIH HX." 
"IiCTHHHbie aBH/KCHHa He H 306 peJIH, HO o 6 Hapy>KHJIH." 

"Mbi HaxoaHM "TaHeu, dyayipero" b TaHpe nponuioro, TaHpe bchhocth." 

"TaHep dyayipero aonaceH CTaTb bbicoxhm pejiHTH03HbiM ncxyccTBOM, xax 3to Obdio y 
,3peBHHx rpexoB." 

(*) A. flymcaH: "... 6 y ny mp h TaHen, aehcTBHTeabHO CTaHeT Bbicoxo-pejiHTH03HbiM 
ncxyccTBOM, xaxHM oh 6bin y TpexoB." 

"^Jia HCxyecTBa, xoTOpoe He aBnaeTCa penHTH03HbiM, cnpaBeanHBO, hto 3to He 
HCxyecTBO, a npocTO TOBap." 

"il xony, HToObi bbi TaHneBann tojibxo Ty My3bixy, xoTOpaa ripcT H3 aymn b Bbicmne 
c(|)epbi." 

'TIorpy3HTe cboio aymy b OoacecTBeHHoe 6ecco3HaTejibHoe. HaHTe rnydoxo BHyrpb 
Hee, noxa OHa He OTaacT Bam eh ayme cboio TahHy. Hmchho Tax a Bceraa nbiTanacb 
Bbipa3HTb My3bixy. Moa ayma aonama CTaTb eaHHoh c Heh, h TaHen OyacT poacaeH H3 
3TOTO odbaTHa." 

(*) A. ^ymcam "fl BaoxHOBaaaacb aBHacemieM aepesbeB, bohh, odaaxoB, CBa3bio, 
xoTOpaa cyinecTByeT Meacay CTpacTbio h rpo3oh, Meacay aerxHM BeTepxoM h 
HeacHOCTbio, h T.a., h a Bceraa CTpeMaiocb bhccth b cboh aBHaceHHa hcmhoto 3toh 
OoacecTBeHHoh noeaeaoBaTeabHOCTH, xoTOpaa npnaaeT npnpoae b ee peaoM xpacoTy h 
aCH3HeHHOCTb". 

(*) H 3 xhhth A. /lymcaH "Moa acH3Hb": "YnpaacHemia HanHHaiOTca npocToh 
THMHaCTHHeCXOH nOaTOTOBXOH, pa3BHBaiOipeH B MblHipaX THdxOCTb H CHay. JTH IITb 
nocnc 3thx rHMHacTHHCCKHx ynpaacHeHHH npnxoaaT nepBbie marn TaHpa. 3th nepBbie 
mam 3axmoHaiOTca b tom, hto6bi HaymiTb npocToh phtmhhcckoh xoabde hjih Mapmy, 
MeaaeHHO noaBHraacb noa npocToh pHTM, 3aTeM xoatde hhh Mapmy nodbiCTpee noa 
pHTMbi 6oaee caoacHbie, 3aTeM 6ery, cnepBa Meanc hh o m y, h, HaxoHep, MeaaeHHbiM 
npbiacxaM b onpcaeaeHHbiH momcht pHTMa. TaxHMH ynpaacHeHHaMH BbiynHBaiOT hotbi 


6 



3ByK0B0H raMMBI, a MOH yHCHHKH BbiyHHJIH 6bl H HOTBI raMMBI ABH/KCHIHI. 3 tH HOTBI, 
cjicaoBaTcabHO, Moryr cjiyacHTb ochoboh ajm pa3HOo6pa3HCHLUHx nojio>KeHHH Tcaa. 

Ynpa>KHCHH5I, KpOMe Toro, HBJIUJIHCb JTH TTTb HaCTbK) 3aH5ITHH MOHX yHCHHKOB. Bo BpCM5I 
cbohx nrp Ha naomaziKC h Ha nporyjiKax b Jiecy acth Sbijih Bccraa OACTbi b cboGoahwc 
H3aHi,Hbie TyHHKH. Ohh Hcnpimy/KACHHO npbirajiH, 6c ran h, npHBbncaa H3bacHXTbC5i 
ABHaceHHHMH TaK >KC JierKO, KaK OCTaJIbHbie H3baCHiHOTCa peHbK) HJIH nCCHCH. Hx 
3aHaTHa h Ha6aK)flCHHa He aojdkhbi 6bijih 3aMbiKaTbca b jiojkhbix (jiopMax HCKyccTBa, 

HO npOKflC Bcero HCXOAHTb H3 ABH/KCHHH B npupoac. 3,BH/KCHMtf rOHHMbIX BeTpOM 
o6naKOB, KanaroujHxca acpcBbCB, noneT nrapw h KOJibixaHHe jihctbcb - Bee aojdkho 
6biJio HMeTB a™ hhx nepBOCTeneHHoe 3Ha i iCHne. Ohh aojdkhbi Sbijih HaymiTbca 
3aMenaTb ocoSchhocth, CBOHCTBeHHbie KaacAOMy ABHaceHHio. Bee hjichbi hx rnSicoro, 
TpeHHpOBaHHoro Tejia OTKJiHKajiHCb 6bi Ha mcjioahh npiipoabi h nejin 6bi BMecTe c 
Heio". 

— MOi? 5KH3HB. KneB, 1898, CTp. 119-121. 

"All movement on Earth is governed by the Law of Gravitation, by attraction and 
repulsion, resistance and yielding, it is that which make up the rhythm of the dance." 

"Primary or fundamental movements must have within them the seeds from which will 
evolve all other movements, each in turn to give birth to others in an unending sequence 
of still higher expression, thoughts and ideas." 

"One can throw oneself into the spirit of the dance and dance the thing in itself (* 
Dionysus); or one can con template the spirit of the dance as one relates a story (* 
Apollo). 

"True movements are not invented but, discovered." 

"We find the 'dance of the future' in the dance of the past, the dance of eternity." 

"The dance of the future will have to become a high religious art as it was with the 
Greeks." 

"For Art which isn't religious is not art but mere merchandise. " 

"I want you to dance only that music which goes from the soul in mounting circles." 

—Isadora Duncan, The Art, pp. 107-108. A LETTER TO THE PUPILS. 

"Plunge your soul in divine unconscious 'giving' deep within it, until it gives to your 
soul it's secret. That is how I have always tried to express music. My soul should become 
one with it and the dance from that embrace. " 

Isadora Duncan, The Art, pp. 107-108. A LETTER TO THE PUPILS. 


* ^onojiHeHHe aBTOpa * 

* author's addition * 

Il,eHTpOM HBH/KCHIHI H BJIHCTCH COJ1HCHHOC CnJieTeHHe. IIOMeCTHTe BaiHH KHCTH pyK 
OAHy Ha Apyryio h KOCHHTecb eojiHCHHoro cruiCTCHini. 

CTaHbTe npaivio, bthhhtc Mbimii,bi /Khboth, nonyBCTByiiTe i<ai< rpyAHaa KJieTica 
ecTecTBeHHO pacTeT h CAeJiaiiTe rjiySoKHH b3aox. 

Paccjia6bTecb. noHyBCTByiiTC pemp, cjiymaiiTe My3biKy. 
npocTO nyBCTByiiTe, a 3areM HaHHHaiiTe ABiiraTbca. 

B TexHHKe TaHii,a ,H,yHKaH Hcnojib3yiOTOi 4 noaii n iiH Hor h 2 nojioaceHHa, i iepc3 
KOTOpbie mm ABHraeM HoraMH. 


7 



Bo-nepBtix, jih 6 o 

(а) CTom>i non yrnoM [45 rpaaycoB] hjih 

(б) napajuiejifcHO. 

^BHacemia TaHpa BbinonHaiOTca, HanpHMep, nyTeM noatcivia KOJieHa k rpyan Bnepca h 
BBCpx, c nantpaMH, ott a h yTbi mh bhh 3 . Tojichb h CTona noaHHMaiOTca k rpyan, tojichh 
h CTom>i HanpaBJiaiOTca napajuien&HO k Teny. Koraa kojicho noaHHiuacTca b CTOpOHy, 
Horn o6pa3yiOT yroa 90 rpaaycoB k Tcay. 

EcTecTBeHHoe hbh/KChhc Tena aBJiaeTca npHH H HnoM b HCKyccTBC Ailccaopbi. 

TaKHM o6pa30M, y Hac ecTL nepBaa, BTOpaa, TpeTba h neTBepTaa no3Hu,Ha, KOTOpaa 
caeayeT 3a nepecTynaHneM Bnepea BnpaBO H3 TpeTteii ttobtt tt tttt (BbiBepTbiBaa Hora). 

The center from which emanates all movement is the solar plexus. Place your hands one 
upon the other and touch your solar plexus. 

Stand erect, facing a mirror if you prefer, pull in your stomach muscles, feeling your 
chest naturally rise and take in air deeply. 

Feel yourself relax. Feel your center, listen to the music. 

Just feel and then move. 

There are four positions of the feet. In Duncan Technique there are two angles through 
which we move our legs. 

First, the legs are either 

(a) at an angle or 

(b) parallel. 

The dance movements are executed, for example, through raising the knee up in front to 
chest heighth with toes pointed down. The lower leg and foot to chest heighth with toes 
pointed down, the lower leg and foot is parallel to the body. When the knee is raised 
sideways, the legs form a ninety degree angle to the body. 

Natural body movement is the principle in Isadora's Art, 

Therefore, we have first, second, third and fourth position- by stepping forward with the 
right from third (reversing the legs). 


0-02. noBH H HH Hor [ Positions of the Feet ] 

IlepBaa noa mi wa 

BcTaTb npaMO, naTKH BMecTe, hockh OTTaHyrbi h ecTecTBeHHO pa3aBHHyn>i Hapyacy 
(okojio 45 rpaaycoB). Bbibopothoh noao im o Ha 180 rpaaycoB HeT, Tax xax b >kh3hh 
HHKTO He XOaHT BBIBOpOTHO. 

First position 

Stand erect with heels together. Toes are pointed outward. There is no extreme 
exten tion. The feet do not naturally walk in 180 degree angles to one another. 

BTOpaa noBH H Ha 

Hocok neBOH Horn OTBoanTca jierKHM aBHaceHHeM b CTOpOHy ot npaBOH Ha paccToaHHH 
CTynHH (oKoao 30 cm b CTOpOHy), Bee Tena pacnpeaenaeTca paBHOMepHO no Teny Ha 
o6e HOTH. 


8 



Second Position 

With a slight movement of the left foot (about 12 inches apart) away from the right, 
place weight evenly under the body. 

TpCTbfl n03HL[Mfl 

npaBafl Hora CTaBHTca Bncpca, ee rnmca icacacTca ccpeaHHbi CTynHH jicboh Horn, hockh 
paBHOMepHO pa3Be^eHbi b ctopohbi. B 3toh iio3h p hh Bnepean 6biBaeT to npaBaa, to 
jieBaa Hora. 

Third Position 

Stand on the right foot with the heel of the left foot closed to the instep of the right foot. 
HcTBcpTaa noa mm a 

OaHa H3 hot BbiaBHHyra b tom ace nojioaceHHH Bncpca, Tax hto MOicay CTyrmaMH — 
paccToaHHe MajieHbKoro rnara h paBHOMepHO pa3MecTHTB Bee Tena Ha o6e hoth. 

Fourth Position 

Bring the right foot forward from 3rd position, with a small step and evenly place weight 
on both feet. 




* CncflyfOLUHC 3aMC i iaHna aBJiinoTca noacHCHHCM aBTOpa. 

* The following theories are the author's explanation. 

HcxoAHoe nojioaceHHe - hoth BMecTe. IlepeHecTH TaacecTb Tejia Bnepea Ha nepeaHioio 
nacTb CTynHH h Ha nanbH,bi, rjraaa npaMO Bncpca; naTicn ot nona He OTAemHOTca; Bee 
Tejio cjierKa h a icn o h hctch Bncpca, Kopnyc npn 3 tom He crn6acTca hh b noacHHpe, hh b 
Ta3o6eapeHHOM cycTaBe. 

flajiee, BTaHyrbie [HaTaHyrbie, cacaTbie] kojichh cjierKa HaBHcaiOT Haa a oa b i>kk a mh . 
3aTeM, HaKOHeu,, onHpaeMca [pyKaMH] Ha 6eapa Bbirne kojich. 

With feel together, incline your body weigh t over them looking straigh t ahead. By doing 
so, we incline the ankles which should be taut, slightly over the feet. This gives us a 
slight angle. 

Next, the tightened knees are inclined slightly over the ankles. 

Then, finally, lean the hips over the knees. 


9 



(*) YnpaacHeHHe Ha paBHOBecne. IIoAHaTb kojicho JieBOH Horn, OTBe^enHoe Hapyacy, 
hocok OTTSHyr h KacaeTca npaBoro KOJieHa. Bbi MoaceTe nepeMemaTb noAHUTyio Hory 
BnepeA, b CTOpOHy h Ha3a a, noxa hocok jicboh Horn HaTimyT, npn otom kojichh h 6 e,npa 
HenOABHaCHBI. 

co CTOpOH&i, m&i bhahm CToamyio (j)nrypy, ho c tcjiom npaBHJi&HO h KOM(j)opTHO 
c 6 aJiaHCHpOBaHHBIM. 

Bto 6 bi HOKa 3 aTb 3 to, no hhh mhtc jieBoe kojicho Hapyacy, HanpaBJiaa pacniHpeHHbie 
najibpbi b CTOpOHy npaBoro KOJieHa, h " 3 a<f)HKCHpyHTecb" - bbi He aojhkhbi ABHraTbca 
npH 3 TOM. 

3 to He aBJiaeTca ceKpeTOM, - KaK HyacHO ctoutb Ha oahoh Hore bo BpeMa pa 6 oTbi 
Apyroii. 

06 paTHTe BHHMaHHe, hto bbi MoaceTe nepeMecTHTb noAHUTyio Hory BnepeA, b 6 ok h 
H a 3 aa, h bbi HAcanbHO c 6 ajiaHCHpOBaHbi, h npn 3 tom hct HHKaKoro Hanpa>KCHna hjih 
noTepH paBHOBecna ao Tex nop, KaK bbi coxpamieTe yroji HaKJiOHa, a jioabdkkh, 
KOJieHHbie h Ta 3 o 6 eApeHHbie o 6 jiacTH yAepacHBaiOTca TBepAO. 

Looking from a side-view the figure standing upright but, with the body properly and 
comfortably balanced. 

To prove this, raise the left knee outward, pointing the extended toes to the side of the 
right knee and 'hold'- you won't falter. 

This is the secret of standing on one leg while working the other. 

Notice that you can move the raised leg front, side and back and you are perfectly 
balanced and there is no 

strain or loss of balance as long as you main tain the angle of inclination and the ankle, 
knee and hip areas are held firmly. 


0-03. BbipaBHHBaHHe h abh>kchhc [ Alignment and Movement ] 

,3,BH)KeHHa BbinojiHiHOTca nocjieAOBaTejibHO, oaho 3a ApyrHM h He npepbiBaiOTca. 
BbinojiHaiOTOi no 4 pa3a c [<a>KAOH CTOpOHbi b tbkt My3biKe (Bajibc IllTpayca). 
HcxoAHoe nojioaceHHe - BCTaTB jicbbim 6 okom k CTaHKy, hoth b nepBOH no3Hu,HH. 
IlepeBecTH npaByio Hory b neTBepTyio noan iT Hio nepeA JieBOH hotoh h ObiCTpo 
noAHUTbca Ha bbicokhc nojiynajibH,bi, noTOM CAenaTb noBOpOT HaneBO b 
npo th b o no ji o >k h y k> CTOpOHy, OKa3aBiHHCb k CTaHKy npaBbiM 6 okom. 

^BH/KCHHC 

Movement 

HcxoAHoe nojioaceHHe - hoth BMecTe. IlepeHecTH tidkcctb Tena BnepeA Ha nepeAHioio 
nacTB CTynHH h Ha najibpbi, tjihaji npn mo BnepeA; hhtkh ot nona He otacjhifotoi; Bee 
Teno cnerKa HaicnoHacTOi BnepeA, Kopnyc npn 3 tom He crndacTca hh b noacHHue, hh b 
T a3o6eApeHHOM cycTaBe. 

Bojibmaa nacTB padoTbi AeJiaeTca Ha bbicokhx nojiynajibpax hot. 

CnHHy Acp'/KaTb npaMO, >khbot BTHHyr. ^bh/KChhc HannHacTOi H3 couHCHHoro 
cnjieTeHHH. 


10 



nocTOflHHOC aBH>KCHHC Tena BBCpx h bhh3 (BCTaBaHHe Ha nonynanBpBi h onycKaHHe Ha 
bck) CTynHio) HMeeT BancHoe 3HaneHHe am pa3BHTHn chjibi h rn6KOCTH rojieHOCTonHoro 
cycTaBa (axHJiJiOBO cyxoncHnne), a Taxnce Bcero Tena. 



BBIpa60TKH CHJIBI, MUTXOCTH, CTpeMHTeJIBHOCTH ABH/KCHIHI HCt)6xOAHMO H3yHaTB 
rpenecxHe CKyji&nTyp&i "TaHp&i MeHaA" - nononcemie h ABroxemie Topca, pyx, hot h 
T ena b penoM oxBaneH&i ABmxeHHeM. 

(*) MeHaABi (Ap.-rpen. «6e3yMCTByioipHe», «HeHCTOBCTByioipHe») — b 
Ape bhct pence koh MH(])onoriiH cnyTHHpBi h n oh irnaTcn b h h pbi HOHHca. IIo ero hmchh y 
pHMnnH — Baxx, ohh Ha3BiBanHCB BaxxaHxaMH, Taxnce 6accapHAaMH — no OAHOMy H3 
3nnTeTOB ^HOHiica — «BaccapeH», cJiHapaMH, MHMannoHaMH. 

(*) Ancepopa OTBeprana m c x a h h h c c k h c ynpa >kh c hh a, nnmeHHBie nyBCTBa h 
ocMBieneHHOCTH. OHa roBOpnna cbohm yneHHxaM, hto abh>kchmji ponncHBi B03HHxaTB 
H3Hyrpn, npencpe caMoro ncecTa ponncHO 6bitb ncenamie CAenaTB ero. AiiceAOpa 
B&ipancana HapencAy, hto b 6ypyipeM ee TaHpopBi co3AaAyr "TaHep Sypyipero". 

Ha caMOM Aene, BBipaBHHBaHne Tena no ,II,yHxaH, nponcxoAHT bo BpeMn abh>kchihi, a 
He AO 3TOTO. 

Pa6oTa c 6appe npepcTaBnneT co6oh coHeTamie pBHnceHHH, BBinonHeHHBix xax 
noeneAOBaTenBHOCTB HenpepBiBHoro abh>kchihi. /IpyrHMH cnoBaMH, abh>kchihi 
BBinonHniOTcn nocneAOBaTenBHO, HenpepBiBHO oaho 3a ApyrHM, h c 6appe 
BBinonHniOTcn no 4 pa3a c xancpofi ctopohbi b rapMOHHHHOM nnaBHOM pBHnceHHH b TaxT 
My3Bixe (TonBxo bbi h Bam BanBC IllTpayca). 

HananBHBie ynpa>KHCHini BBinonmiiOTcn y CTaHxa. HcxoAHoe nono>KCHHC - BCTaTB 
neBBiM 6 oxom x CTaHxy, noMecrnTB npaByio pyxy Ha 6appe, hoth b nepBOH no3Hii,HH. 
YnpancHeHHn HammaiOTcn ctoh cnpaBa h nepeMeipancB cneBa b pHTMe Banxca. 
,H,BHnceHHn noBTOpniOTcn 4 pa3a. 

nocne nepeBecTH neByio Hory b neTBepTyio noaii n iiH) nepeA npaBOH hotoh h 6&iCTpo 
noAHnT&cn Ha B&icoxHe nonynanBp&i, noTOM CAenaTB noBOpOT HaneBO b 
npOTHBonononcHyio CTOpOHy, oxa3aBmncB x 6appe npaBBiM 6oxom. (Hobtophtb to nee 
caMoe ABHnceHHe). 

Duncan alighnment of the body actually occurs during movements, not prior. 

The barre work is a combination of movemen ts executed in succession of continuous 


11 



motion. In other words, the positions unfold in succession, one after the other and during 
barre are repeated four times on each side in harmonious flowing movement to the 
practice music (You and You Waltz/Strauss). 

Beginning exercises are executed at the barre. Place the right hand lightly on the barre 
and stand in first position. 

Exercises are begun standing on the right and using the left to waltz time. 

The movements are repeated four times. 

Then, bring the left leg to the fourth position front but, to cross in front closely to the 
right leg and we rapidly lift high on the toes and turn toward the barre. (Releve) 

Tenepfc, jihh,o b npOTHBonojioacHOM HanpaBJieHHH, ctox Ha aeBOH Hore, npaBaa Hora 
roTOBa. IIoBTOpeHHe. Bee 3to AenacTOi b tbkt My3bixe. 

3flec& aojdkho 6&it& Henpep&iBHoe ABHaceHHe ot oahoto ynpaacHeHHa k ApyroMy, 
ynpaacHeHHe noBTOpaeTca hjih Ha oahoh h toh ace CTOpOHe, hjih Ha npOTHBonojioacHOH 
CTOpOHe, hjih h3mchhh CTOpOHy b nocneAyiomeM ynpa>KHCHHH. 

IIocjieAOBaTeji&HOCTH ABHaceHHH c 6appe o6bihho AJiaTca ot 20 ao 30 MHHyr. 
HAeajiBH&iH KJiacc AonycKaeT B03M0acH0CTb h hcoOxoahmoctb o6paTHT& BHHMaHHe 
yneHHKOB, hto hcoOxoahmo xax MoacHO 6ojiee tohho cjieAOBaTB My3&iKe Tax, hto6bi Bee 
OHH HaHHHaJIH, pa3BOpaHHBaJIHC& H 3aKaHHHBaJIH B yHHCOH. 

Now, face in the opposite direction, standing on the left foot, right foot ready. Repeat. 

All this is done in time to the music. 

There must be continuous movement from one exercise to another whether the exercise 
is repeated on the same side or the opposite side or changes into the next exercise. 

The sequence of barre movements usually last twenty to thirty minutes. 

The ideal class is for the student to pay attention closely to the music so they all start 
and turn and finish in unison. 

Eoji&maa nacTb paSoTti no ,II,yHxaH ACJiacTca Ha bbicokhx nojiynajibpax hot. 

CnHHy AcpacaTb npaivio, acHBOT BTSHyr. 

Ha lim ABHaceHRH HanHHaiOTca H3 eojiHCHHoro enjiCTCHiia. IIjiomaAB b ucHTpc Harneii 
rpyAH Ha Hecxojibxo caHTHMeTpOB Bbime nynKa. 

nocTOHHHbic ABHaceHHa Teaa BBepx h bhh3 (BCTaBaHHe Ha nojiynajibpbi h onycicaHHC 
Ha bck) CTynHio) hmciot BaacHoe 3Ha i ieHHC AJia (|)op mm po b a hm a chjibhbix, ObiCTpbix, 
th6khx hot h th6khx aoAbr/KCK, jgisi pa3BHTHa chjibi h thOkocth rojieHOCTonHoro 
cycTaBa (axHJiJiOBO cyxoacnjine). 

3to Taxace ycHJiHBaeT h ocTajibHbie nacTH Teaa. 

Most of the Duncan work is done high on the balls of the feet. 

The back is erect and the stomach held in. 

Our movements radiate outward from the solar plexus. The area in the center of our 
chest a few inches above the naval. 

The constant up and down movements of the body is essential to the building of strong, 
fast feet and flexible ankles and legs. 

It, as well, strengthens the rest of the body. 

TaHu,op AOJiaceH BHHMaTejiBHO H3y i iHTb cxyjibnTypy noA Ha3BaHHeM "Dancing Maenad" 
(TaHuyiomaa MeHaAa) [b EepJiHHexoM My3ee]. "BaxxaHxa (TaHuyiomaa MeHaAa)" 


12 



ApeBHHx rpeKOB, Ha moh Banian, H3o6paacaeT CHJiy, MarxocTb, aaoHeHHOCTb, h b to ace 
BpeMa roamecTBO, 6&iCTpOTy h CTpeMHTeji&HOCTt. CaMoe rjiaBHoe, hto TaM ecTt 
ABHaceHHe. 

Tope, pyKH, Horn h mea [Hepa3p&iBHo] caenyiOT, xorna [Bee] Teno [peaHKOM] 

ABHaceTca Ha MecTe hjih noxpbreaeT [Bee nocrynHoe] naHHoe npocTpaHCTBO. 

A dancer should study a sculpture called the 'Dancing Maenad' [in a Berlin Museum]. 
The 'Dancing Maenad' of the ancient Greeks, in my opinion, depicts force, softness, a 
vitality, and grace, swiftness and impedous. Most importantly then, is the movement. 

The torso, arms, legs and neck follow as the body moves in place or covers a given 
space. 

Aiicenopa Bcerna non^epxHBajia cbohm yneHHxaM, hto ohh He ^ojdkh&i neJiaTb 
ABHaceHHe, noxa, no Han an a TaHu,a, ohh He 6ynyr nponHTaH&i 3toh BHyTpcHHCH 
3MOH,HeH, OHI,yHI,aeMOH H3 COJIHeHHOTO enJICTCHIia, HBH/KCHMa nOH/KHbl B03HHKaTb 
H3HyTpH, npeacne caMoro acecTa noiDXHO 6bitb acejiaHHe cneJiaTb ero. Aiicenopa 
Bbipaacajia Haneacny, hto b 6ynymeM ee TaHpopbi 6ynyr co3naBaTb HOBbie TaHpbi h ee 
HcKyccTBO CMoaceT BonnoTHTbca b "TaHen, Synymero". 

Isadora always stressed to her pupils that they should not make a movement until they 
were imbued with that inner emotion to feel from the solar plexus before commencing to 
dance. Isadora expressed the hope that in the future her dancers would go on to create 
new dances and her Art would become the "Dance of the Future”. 

(*) Ee3ycnoBHO, Aiicenopa He BepHJia b MexaHHnecKHe ynpaacHemia, jnimeHHbie 
nyBCTBa h ocMbiejieHHOCTH. OHa nncajia "06 3thx CHCTeMax TaHpa, KOTOpbie 
BoenHTbiBaiOT HHHib HaTpeHHpOBaHHbix THMHacTOB (/Jajibxpoa h T.n.)". no3>xe OHa 
6yncT npcnocTcperaTb cbohx yneHHKOB: "IIoMHHTe, hto Barnn nBH>xcHHa nojiaoibi 
B03HHKaTB H3HyTpH. npeacne caMoro acecTa noaacHO 6bitb acenaHHe cneJiaTb ero" ... OHa 
HacTaHBajia, hto6bi peneTHu,HH ee mojioabix yneHHXOB HHXorna He nepepacTajin b 
KOMnJieKC (j)H3HHeCKHX ynpa>KHCHHH... TaHU,OBHI,HK HOH/KCH npHBbIKHyTb HBHraTbCa 
Tax, xax 6ynTO nBHaceHHe HHxorna He xoHnaeTca. Oho Bcerna ecTb BHeniHHH pe3yjibTaT 
BHyrpeHHero ocMbicjieHHa. 3to He MoaceT 6bitb npocTO cepnen nocTaBJieHHbix 
ynpa'/KHCHH h, HanpaBJieHHbix Ha pa3BHTHe MycxyjiOB." (h3 xhhth Eroiiep "Aiicenopa: 
IIopTpeT aceHHi,HHbi h axTpHCbi"; CTp. 64.) 


13 



• 1. CTAHOK == BARRE • 


1-01. BBeaemre b ynpaacHemra c 6appe [ Introduction to Barre Exercises ] 

(*) y npa>KHCHHa aeaaTca Ha Tpn OTana no 20 MHHyT xaaca&m. riepBbiH - 
KOM6HHHpOBaHHbie UBH/KCHHa y CTaHKa, BTOpOH - rHMHaCTHHCCKHC ynpa>KHCHHa, 

TpeTHH - TaHu,eBajibHbie hbh>kchm5i : BaabcoBbiir mar, Eer, npbiacxH h MaxoBbiir mar, h 
T. fl. 

Eappe ynpa>KHCHiia b KJiacce 
Classroom Barre Exercises 

3th ynpa>KHCHna BbinoamnoTcn b toh nocacnoBaTcabHOcnr, b xoTOpoir a y3Hajia hx ot 
J lmmaH Po3eH6epr, xoTOpan Tax dbiaa odyncHa HpMoir flyHxaH. 

31 3^ecb noApodHO odbncmo padoTy b KJiacce, xoTOpan pa3aeaeHa Ha hcckojibko 
K aTeropHH. riepBbiH cemeHT KJiacca HammaeTca c dappe an a KOMdHHHpOBaHHBix 
ABHaceHHH. Knacc conpoBO/xaacTca r h mh ac t h h c c k hmh ynpa >i< h c hh a mh , 

BbinoiiHacMbiMH rpynnaMH b Kpyre. 

3aHaTHe conpOBoacaaeTca xoAtdoir h aBHaceHHaMH aan pa3MHHKH Bcero Teaa. 

BTOpoir cerMeHT xaacca nocBam,eH pa3JiHHHbiM Tami,eBaaLHLiM hbh/KChiwim: 

BaabcoBbiH mar, Eer, npbiacxH h MaxoBbiir mar, h T.a. 

Haaaeacamee myHCHirc xaacaoii KaTeropHH 3amrMaeT no MCHbmcii Mepe 20 MHHyT, 
TaKHM odpa30M, HTodbi Ha ohhh nac KJiacca, xaacaoe H3 Tpex HanpaBaemrir padoTbi 
cocTaBaaao no 20 MHHyT. B naeaae - 2 naca aymne. Kohchho, Tamj,op aoaaceH 
coBepmeHCTBOBaTB cboio TexHHKy Taxace h aoua no Hecxoabxo nacoB xaacabiir aerm. 

These exercises are performed in the sequence in which I learned them from Lilyan 
Rosenberg was trained by Irma Duncan. 

I will explain here in detail the class work which is divided into different categories. The 
beginning class starts with the barre with combination movements. This is followed by 
gymnastic exercises done as a group in a circle. 

This is followed by the Walk and Movemen t through the body. 

The second segment of the class is devoted to various dance movements: Waltz Step, 

The Run, Leaps and Swing Step, etc. 

The proper study of each category takes at least twen ty min utes so, each of the three 
areas of work over a one hour class is twen ty min utes. Ideally, two hours is best. Of 
course, the dancer must perfect her technique at home several hours every day. 


1-02. HaxjiOHbi Bnepca h moan [ Forward and backward Bending ] 

(*) HcxoAHoe nojioaceHHe: aep>Kacb 3 a CTaHOx npaBoir pyxoir, 3a(j)HKCHpyHTe npaByio 
Hory noa yraoM 90 rpaaycoB x CTaHxy. IlepeMecTHTb BbiTaHyrae naabHbi acBoii hoth 
Bncpca, xacaacb non a. Pyxn, caerxa H3orHyTbie b aoxTe, yaepaamaiOTca h ocTaiOTca Ha 
BHyTpeHHeir nacTH Ta30Boir kocth. Kax toubko aeBaa Hora nepeMem,aeTca Bnepea, 
OAHOBpeMeHHO neBaa pyxa noamiMacTOi BBepx. JIokotb cjierxa H3orHyT. IdacMH He 
noaHHMaiOTca. nonyBCTByiiTe aerxHH pocT, TexynecTB, ncpcTCxaiomcc hbh/KChhc. 
roaoBa noanHMaeTca MeaaeHHO - oaHOBpeMemro, - b to BpeMa xax pyxa noanHMaeTca. 


14 



TonoBy Hy>KHO acpacaTb npaMO, xoraa khctb npoxoaHT memo rpyan. Koraa pyxa 
npoaoaacacT hbit/KChhc BBepx, naatijM, ecTecTBeHHO, pa3BopaHHBaK)Tca h 
HanpaBJiaiOTca Ha noTOJiOK, TaioKC KaK h raa3a oOpamaiOTca BBepx k noTOJiKy. He 
ocTaHaBJiHBaECb, nporHHTecb Ha3aa b TaaHH, BMecTe c pyxon, xoTOpaa caeayeT 3a 
ABHaceHHeM Teaa. nocae aoc th>k c hh a xpaiiHero noaoaceHHa, npoaoaacaiiTe hbh/KChhc b 
o6paTHOM HanpaBacHHH, HaxaoHaacb Bnepea, h 3aTeM onycTHTe pyxn h 3anacTba, 
HaKaoHHTbca Bnepea, xacaacb Hocxa BbiTaHyTOH aeBOH Horn, h npH 3tom roaoBa 
naaaeT Bnepea. nocae npHKOCHOBemia naabpeB, noaHHMHTecb BBepx h noBTOpHTe 
HaKaoH Ha3aa. npaBaa Hora aoaacHa 6bitb npaMOH, TaioKC Rax aeBaa. noBTOpHTb no 4 
pa3a Ha aeByio h npaByio Hory, BbiTaHyTOH Ha noay. 



flepaca 3a 6appe npaBOH pyxon, 3 a(j )h kc m p y n tc npaByio Hory noa yraoM 90 rpaaycoB k 
6appe. noMecTHTe BbiTaHyTbie hocok aeBOH Horn Bnepea, xacaacb noaa. 

PyKH, caerKa H3orHyn>ie b aoKTe, yaepacHBaiOTca h ocTaiOTca Ha BHyrpeHHeii nacTH 
Ta30B0H kocth. Kaic aeBaa Hora CTaBHTca Bnepea, Tax h aeBaa pyxa oanoBpeMeHHO 
noaHHMaeTca aaaoHbio bhh3. flepacHTe pyxy Ha naene. He noaHHMaiiTe naenn. 
noaHHMaiiTe pyKH i icpc3 Bepxmoio nacTb. JIoKOTb caerxa H3omyT. 
nonyBCTByiiTe aerxHii pocT, TeKynecTt, nepeTexaiomee aBHaceHHe. ToaoBa 
noaHHMaeTca MeaaeHHO - oaHOBpeMeHHO, - b to BpeMa nan pyxa noaHHMaeTca. ToaoBy 
HyacHO acpa<aTb npaMO xoraa 3anacTbe h Bepx aaaoHH npoxoaHT memo rpyan. Koraa 
pyxa npoaoaacaeT aBHaceHHe BBepx, naai>H,bi, ecTecTBeHHO, p a3 b o p an h b a k> tc a h 
HanpaBaaiOTca Ha noToaox, Taxace xax h raa3a o6pam,aK)Tca BBepx x noToaxy. 


15 



He ocTaHaBJiHBcLHCB, npOAonacaeM Ha3a a, crnOan Ha3a a ot TaaHH, c pyKofi, KOTOpaa 
nepeMeipaeTca o6paTHO c TejiOM. nocae AOCTHacemia nocneAHero nonoacemia, 
npoaoji/KanTC h CHOBa aBHranTCCb Bncpca, h 3aTeM onycTHTe pyicn h 3anacTi>a, Korna 
bbi HaKJiOHaeTecb, htoObi KOCHyrbca HOCKa BbiTaHyTOH aeBOH Horn, h npH 3tom ronoBa 
naaacT Bnepcn. 

nocae npHKOCHOBemia naatpeB, nepeMecmTecb BBepx h noBTOpHTe HaKJiOH Ha3aA. 
npaBaa Hora non>KHa 6 bitb npaMofi, TaioKC KaK neBaa. 
noBTOpHTe 4 pa3a h pa3BepHHTecb Ha npaByio CTOpOHy. 
noBTOpHTe 4 pa3a c npaBOH Horn, BbiTaHyTOH Ha nony. 

Holding the barre in the right hand, turn out the right foot to a ninety degree angle with 
the barre. Place the pointed left toes forward touching the floor. 

The arms are held curved sligh tly at the elbow resting on the inside of the pelvic bone. 
As the left foot is placed forward the left arm is simultaneously raised palm side down. 
Hold the arm in the shoulder. Do not lift the shoulder. Raising is through the top of the 
hand. The elbow is slightly curved. 

Feel a slight rising, fluid, flowing movement. The head rises slowly- simultaneouly- as 
the hand rises. The head should be erect as the wrist and upper palm travel up past the 
chest. As the arm continues upward the fingers naturally unfold and extend to the ceiling 
as the eyes look up to the ceiling. 

Not stopping, continue back, bending back from the waist with the arm traveling back 
with the body. After reaching the farthest extention, continue up and forward again and 
lower the arm and wrist as you bend down to touch the toes of the extended left foot and 
the head drops forward. 

After touching the toes, travel upward and repeat the back bend. The right leg should be 
kept straight as well as the left. 

Repeat four times and turn to the right side. 

Repeat four times with right leg extended on the floor. 


1-03. Maxn Horoil BnepeA [ Front Leg Swings ] 

(*) HcxoAHoe nojioaceHHe: ^epacaTtca 3a CTaHOK npaBOH pyicon, Horn b nepBofi 
noBH H HH. IlIarHyTb Ha3a a Ha neByio Hory, OAHOBpeMeHHO, Aep>Ka pyicy BbiTaHyroH 
Ha3a,g Ha neBoil CTOpOHe. Bbi6pocHTb neByio Hory BnepeA, kojicho npaMoe, hockh 
OTTHHyTBi nepe,g co6oh, h pyica ABHaceTca H uacaeTca nantpeB, Kogga Hora 
(])HKCHpycTCH BnepeflH. 14 pa Baa Hora n p h n o ah h MacTca Ha nonynanbHbi, Korna neBaa 
Hora noAHaTa BBepx BnepeA. Kor^a neBaa Hora B03BpaiH,aeTca b ncxoAHoe nonoaceHHe, 
OAHOBpeMeHHO npaBaa Hora onycxaeTca Ha naTKy. noBTOpHTB 4 pa3a Ha neByio h 
npaByio Hory. 


16 




,H,epacHTe ctehok h CTOHTe b nepBofi ttobtt tt tttt. IIIarHHTe Ha3a,n, Ha jieByio Hory, 
OAHOBpeMeHHO, .gepaca pyxy BBiiaHyiOH Ha3a,g Ha jieBOH CTOpOHe. 

B&i6poc&Te JieByio Hory, kojicho npaMoe, hockh OTTHHyT&i nepe,g co6oh, h pyxa 
ABHaceTCii h KacacTca naji&u,eB, Toraa KaK Hora (j)HKCHpycTCH Bncpcaii. 

JieByio Hory no,a,HaT& BBepx Bnepe/i, Kor^a b&i noAHHMaeTec& Ha naji&pax npaBOH 
Horn. Kax neBaa Hora pacxaHHBaeTca Ha3a ^ b HexoAHoe nojioaceHne, OAHOBpeMeHHO 
npaBaa naTxa Taxace hhct Ha non. 

IIoBTOpHTe 4 pa3a bjicbo h BnpaBO. 

Hold the barre and stand in first position. Step back on the left foot, simultaneously, 
holding the arm extended back on the left side. 

Throw the left leg, knee straight, toes pointed up in front of the body and the arm travels 
and touches the toes as the foot poin ts in front. 

The left leg is swung up in front as you raise up on the toes of the right foot. As the left 
foot swings back to starting position, the right heel also simultaneously comes down on 
the floor. 

Repeat four times left and right. 


1-04. Maxn Horoii EoxoB&ie [ Side Leg Swings ] 

(*) HcxoAHoe nonoaceHHe: ,n,ep)xaT&ca 3a CTaHOx npaBOH pyxoM, Horn b TpeTteH 
no3Hu,HH, neBaa Hora BnepeAn npaBOH, neBaa pyxa OTBe^eHa b CTOpOHy. IIoAHaT&ca Ha 
npaByio Hory, cnerxa corHyryio b xoneHe. Tojihxom BBepx B&mpaMHT& xoneHO npaBOH 
Horn, OAHOBpeMeHHO c^enaTB Max JieBOH Horoii b CTOpOHy Ha ypOBeHB 6e,opa, 
B&mpaMHB xoneHH h OTTHHyB hocox Hapyacy. 3a,n,ep)xaTi>ca Ha cexyH^y, h noxa neBaa 
Hora onyexaeTCH, npaBaa Hora Bee eipe HaxoAHTca Ha nojiynan&H,ax, xoneHH 
B&mpnMJieH&i. 3aTeM Horn ohhobpcmchho onycxaiOTca: n pa Baa Ha bcio CTynHio, neBaa 
TaioKC onycKacTca h cxoji&3ht mwan 3a npaByio Hory b TpeTteio no3HH,Hio. Bee Tcna 
nepeHOCHTca - c npaBoro 6oxa Ha neB&iH. IIobtophtb c Apyroii CTOpOH&i. 


17 




,H,epacHTe 6appe cnpaBa. CTaHtTe b TpeTtio no3HH,Hio, neBaa miTKa BnpaBO noAteM. 
flepacHTe 6appe Ha^eacHO b npaBOH pyice, neBaa pyica b CTOpOHy. 

CTaHtTe Ha npaByio Hory, cra6aa CHeraa b KOJieHe, KOTAa bbi HamieTe OAHOBpeMeHHO, 
npOTaHHTe k jicboh CTOpOHe - jiCBaa Hora c OTraHyrtiMH nantpaMH, kojichh npuMtie. 
Koiyia Bame Tejio 3HeprHHHO ABHaceTca BBepx, a npaBoe kojicho BtmpaMjnieTca, jieBaa 
Hora npOBOAHTca c ycHJiHeM b nojioaceHHe Ha ypOBHe 6eApa. 

3a/iepacHTecb Ha cexyHAy h HannHaiiTe B03Bpam,aTb jieByio Hory 3a npaByio Hory. 
IIpaBaa Hora Bee em,e Ha najitpax, noica jieBaa Hora B03Bpam,aeTca, kojichh ocTaiOTca 
npuMBiMH. Bee Tejia nepeHOCHTca noonepeAno. 

IIojiHaa noAoniBa cronbi ocTaeTca Ha nojiy, a Hora ckojh>3ht Ha3aA 3a npaBOH hotoh b 
TpeTben no3H ii HH. CrnSaiOTca tojibko jioabdkkh jicboh Horn. Kor^a jieBaa Hora hact k 
nojiHOH ocTaHOBKe Ha B03BpaTe, npaBaa CTona h Hora OAHOBpeMeHHO onycxaiOTca, h 
npaBaa Hora TaioKC TBcpao CTaBHTca Ha 3eMJiio. 

Bee Tejia nepeHOCHTca - c npaBoro 6oxa Ha jieBtm - 
a nepeA noBTOpeHneM BtiCTaBHTb Hory. 

Hold the barre right. Stand in third position, left heel in the right instep. Hold the barre 
firmly in the right hand, left hand out to the side. 

Step on the right toes, bending slightly in the knee as you begin to simultaneously, thrust 
out to the left side - the left leg with the toes pointed, knees straight. 

As your body forces upward and the right knee straightens, the left leg is firmly held in 
tight at hip level. 

Hold for a second and begin to return the left leg behind the right. The right foot is still 
up on the toes as the left leg is returned, knee straight. The body weight rocks. 

The full sole of the foot remains on the floor, as the foot slides back behind the right to 
the third position. Only the ankle of the left foot flexes. As the left foot comes to a full 
stop on return, the right foot and leg simultaneously come down and the right foot is also 
firmly on the ground. 

The body weight rocks - right hip to left - 
before repeat throw out of the leg. 

IIocjieAOBaTejibHOCTb cjieAyiomaa: 

II.. mar 

JL. hockh Hapyacy 
JL. B03Bpam,eHHe 


18 



nepeHOC.. (TpaHC(j)ep - ObiCTpbiH nepeHOC Beca Teaa caeBa HanpaBo) 
nOBTOpHTB 

The sequence is: 

R step 
L toe out 
L return 

rock (rocking is a quick weight transfer L to R) 
throw out again 


1-05. MaxH hotoh KoM6HHHpOBaHH&ie [ Combination Leg Swings ] 

(*) HcxoAHoe nojioaceHne: Horn b TpeTteH no mra tf, aeBaa Hora nepeA npaBoil, pyKH 
cobpaH&i Ha rpyzpi. JleBaa Hora ^ejiaeT Max b CTOpOHy, pyKH pacKp&iBaiOTca b CTOpOH&i. 
BepHyrb aeByio Hory b noaoaceHHe nepeA npaBoii Horoii, pyKH noAHaTb b&icoko BBepx, 
B3rjniA HanpaBHTB Ha naji&H,&i pyx. CHOBa c^ejiaTB Max jicboh Horob H3 nonoacemni 
cnepeAH b CTOpOHy. BepHyrb aeByio Hory b nojioaceHHe no3aAH npaBoil Horn, pyxa 
pacnpocTepTa no3aAH jieBoro njiena. Bee Tejia nepeHOCHTca obparno Ha aeByio Hory, 
npaBaii CTona BnepeAn. 



Hora BbiOpacbiBacTca b CTOpOHy, pyxn b CTOpOHbi. 

BepHyrb aeByio Hory b nojioaceHHe nepeA npaBoii hotoh, pyxn noAHaTb bbicoko BBepx, 
HanpaBHTB Ha hockh. 

Ot6pochtb CHOBa aeByio Hory H3 noiioaceHHa cnepeAH b CTOpOHy. 

BepHyrb aeByio Hory b nojioaceHHe no3aAH npaBOH hoth, pyxa npocTHpaeTca no3aAH 
JieBoro njiena. 

Bee Tejia nepeHOCHTca obpaTHO Ha aeByio Hory, npaBaa CTona noMemaeTca BnepeAH. 
The leg is thrown out sideways, arm out to side. 

Return with the left foot in front of the right foot, arm up high, forward on toes. 

Throw left leg out again from front to side. 

Return left leg to behind right foot, arm extends up behind the left shoulder. 

The body weight is back on the left foot, right toes pointed forward. 


19 



riocne AOBaTejiBHOCTB: 
Jill.. B CTOpOHBI 

Jin.. Bnepefl 

Jin.. B CTOpOHBI 

Jin.. Ha3a^ 

Sequence: 

LF out to side 
LFfront 
LF out to side 
LF back 


1-06. njine (npHce^aHHe) [ Pliez ] 

(*) HcxoAHoe nojioaceHHe: ^epacaT&ca 3a CTaHOK npaBoii pyKoii, hoth b nepBoii 
nOBH TT HH. CnHHy aep'/KaTb npHMO, /KHBOT BTHHyT. T H'/KCCTB TeJia paBHOMepHO 
pacnpe^eJieHa Ha o6e hoth h Ha o6e CTynHH. MeAJieHHO onycTHTb Bee Tejia, crH6aa 
hoth b KOJieHax, ao Tex nop, noxa bbi He "cimeTe" Ha naTKH. PyKH mutko BbiTHHyra b 
CTOpOHbi, h onycKaiOTca, Korna ronoBa h Tejio iiayT bhh3. JIokotb jicboh pyxn 
HaxoAHTca nepeA co6oh y JieBOH Ta30Boii kocth. Khctb npOAOJDKaeT ABHJKemie bhh3, 
Aejiaa MeAJieHHbiii "3aMax" no HanpaBJieHHio k peHTpy Tejia, najibpbi khcth npoxo/piT 
Ha paCCTOUHHH HeCKOJIBKO CaHTHMeTpOB OT nOJia. Pe3KO, 6bICTpO nOAHUTbCa Ha hockh, 
nonyBCTBOBaTb 3HeprHio, BbipbiBaiomyiooi ot hot BBepx no Tejiy h o6paTHO, b to 
BpeMa, Kax 3anacTbe npoxoAHT npaMO nepeA jihu,om, b3tjiiia cjicaht 3a 
noAHHMaiomeHOi BBepx pyicon. nocjie 3aBepmeHHa noAteMa Ha najibpax, MeAJieHHO 
OTKpoiiTe jieByio pyicy, BbiTHHyryio b CTOpOHy, c OTKpbiTOH BBepx jiaAOHBio. 3aTeM 
noBepHHTe JieByio JiaaoHb bhh3 h npOAOJiacaiiTe onycKaTb JieByio pyicy i icpc3 CTOpOHy, 
KOTAa Tejio B03Bpaiu,aeTOi b nepByio no3HH,Hio. noBTOpHTe 4 pa3a bjicbo h BnpaBO. 



BcTaHbTe b nepBoii no3Hu,HH. ,H,epacHTe cnHHy npaMO, jkhbot BTHHyr. MeAJieHHO 
OTnycTHTe Bee Tejia, H3TH6aa hoth b kojichhx, ao Tex nop, noxa He "caAeTe" Ha hhtkh. 
Pyxa mhtko BbiTHHyra b CTOpOHy, h onycKacTca, KOTAa rojiOBa h Tejio HAyT bhh3. 
JIokotb JieBOH pyxn HaxoAHTca nepeA co6oh y jicboh Ta30Boii kocth. MeAJieHHbiH 
"pa3Max" BepxHeii nacTH aanacTBa no HanpaBJieHHio k ucHTpy Tejia c najibpaMH, 


20 



KOTOptie noMemaeTCM BHH3y b 3 cm ot nona. Pe3KO, 6&iCTpo noAHflT&ca Ha hockh, 
nonyBCTBOBaTB 3HeprHio, B&ip&iBaiomyioca ot hot BBepx no Teny h o6paTHO, b to 
BpeMii nan 3aracTi>e npoxoAHT npaMO nepe/i jihh,om, OTKp&iBaeTca Ha^ tojioboh, h Tor^a 
B&I CMOTpHTe Ha nOTOJIOK. 

Ilocjie 3aB6pmcHH5i noAxeMa Ha naji&pax, MeAJieHHO OTKpoiiTe jieByio pyxy, 

B&ITilHyTyK) B CTOpOHy, C OTKp&ITOH BBepX Jia^OH&K). 

3aTeM noBepHHTe JieByio jia^OHB ot 30 6 onee (npn), hto6bi jihh,om bhh3 h 
npoflOJi/KaHTC onyci<aTb JieByio pyxy no CTOpOHaM, Korua Teno, oahobpcmchho, 
onycKacTca b nepByio no3Hu,Hio. 

IIoBTOpHTe 4 pa3a bjicbo h BnpaBO. 

Stand in first position. Hold back straight, stomach in. Slowly lower body weight 
bending in the knees until you 'sit' on the heels. 

The arm is softly extended out to the side, the arm lowers as the head and body lower. 
The elbow of the left arm rests in front of the body near the left pelvic bone. Slowly 
'swish' the top of the wrist toward the center of the body with the fingers pointed 
downward an inch from the floor. Suddenly, rapidly rise up on the toes, feel the energy 
shooting up from the legs up through the body and back as the wrist travels straigh t up 
in front of the face and opens up overhead and you look up to the ceiling. 

After the raising up on the toes is complete, slowly, open the left arm extended out to the 
side with the palm opened upward. 

Then, turn the left palm from up to over (under) to face down and continue to lower the 
left arm to the sides as the body, simultaneously, lowers to first position. 

Repeat four times left and right. 


1-07. MaaTHHK [ Pendulum ] 

(*) HcxoAHoe nouoaceHHe: ^epxcaTbca 3 a CTaHOx npaBOH pyxon, hoth b neTBepTOH 
no3Hu,HH, ueBaii Hora c3a^H, hocox BbiTjmyr, rpyn,B OTxpbiTa, neBafl pyxa onyipeHa 
bhh 3. CAeuaTb HedojibiHOH B3Max Bnepefl jieBofi pyxon h jia^OHbio xax 6 bi "TOJixHyTB 
B03Ayx" Bnepefl ot ce6a, h b to ace BpeMa - neBafl Hora npocTHpaeTca Ha3a a, OTpbiBa^cb 
ot noua. IIotom nepeMecTHTb dpocxoM JieByio Hory BnepeA, a jieBafl pyxa otboahtcji 
H a3a/i. Co3^aTb ABmxeHHe "Ma^THHxa", 6&iCTpo BbidpocHTb JieByio Hory BnepeA h 
H a3aA, xorAa pyxa OAHOBpeMeHHO xanaeTca BnepeA h Ha3a a, ho b npOTHBonouoacHOM 
HanpaBJieHHH ot hoth. CaeuaTb 4 pa3a. PloBTOpHTb c Apyrou CTOpOHbi. 


21 




flepacHTe ctehok npaBofi pyKofi. BcTaHtTe b neTBepToii ttobtt tt tttt, neByio Hory Ha3aA, c 
neBOH CTonofi BbiTaHyTOH Ha3aa, rpyab OTKpbiTa, Teno o6pam,eHO k peHTpy KOMHaTbi. 
B3MaxHHTe pyKOH BnepeA, Jia^OHb "TOJiKaeT B03Ayx", h b to »ce BpeMii, - noAHUTb 
neByio Hory ot nona Ha3a^. 

YAepacaTb, a 3aTeM Bbi6pocHTb neByio Hory BnepeA, Kor^a neBaa pyica ABHnceTcn Ha3a^. 
Co3^aTb ABHaceHHe "ManTHHica", 6biCTpo BbiOpocHTb neByio Hory BnepeA h Ha3aA, 

Kor^a pyxa OAHOBpeMeHHO KanaeTcn BnepeA h Ha3a a, ho b npOTHBonononcHOM 
HanpaBJieHHH ot hoth. 

CAenaTb 4 pa 3 a. IIoBTOpHTb c Apyroii CTOpOHbi. 

Hold the barre with the right hand. Stand in fourth position, left foot back, on toes with 
left extended back, chest open, body facing front of the room. 

Sway arm forward, palm 'pushing air' and at the same time - lift the left leg off the floor 
in back. 

Holding, throw the left leg forward as the left arm moves back. 

Create a 'Pendulum' movement rapidly throwing the left leg in front and back as the 
arm simultaneously sways front and back but, in the opposite direction from the leg. 

Do four times. Repeat on the other side. 


1-08. ropH30HTajibHbie abh>kchhh [ Horizontal ] 

(*) HcxoAHoe nonoaceHHe: BCTaTb npnMO, hoth BMecTe, aHcjiac. Hoahatb neBoe kojicho 
bbicoko BBepx k rpyAH, neBan pyica npocTHpaeTcn BnepeA c jiaAOHbio, BHcnmeii HaA 
KOJieHOM (He npHicacancb k KOJieHy). npOAonncHTb abh>kchhc no "oTKHAbiBaHHa Ha3an", 
noxa Teno c BbiTflHyroii pyicon CTaHeT napannenbHO c nonoM MaKCHManbHO, icaic TonbKO 
bo3mo>kho. nocne toto, Kax Teno nonHOCTbio 3a(f)HKCHpyeTcn ("B03nencHT"), BbiTHHyTb 
neByio Hory h CTony BnepeA- Bee Teno AonncHO 6bitb ropH30HTanbHO (napannenbHO) k 
nony. noAHHMMTe h onycTHTe pyicy b CTOpOHy, nocne toto, Kax Teno BbinpaivinacTCH. 
nOBTOpHTb C Apyroil HOTOH. 


22 



BcTam>Te npaMO, Horn BMecTe, jihh,o BnepeA (aH(j)ac). noAHHMHTe neBoe kojicho 
bbicoko BBepx, 6jih3ko k rpyAH, neBaa pyxa npocTHpaeTca BnepeA, c JiaAOHBio BHcameii 
HaA KOJieHOM. (He npmcacaHTecB k KOJieHy). 

FIpOaOJI'/KHTb ABH'/KCHHC £0 "OTKHABIBaHHH Ha3a^", AO TOrO MOMCHTa, noKa TeJIO c 
BbiTaHyTOH pyKOH He npocTHpaeTca, MaKCHMajiBHO, KaK tojibko 3to bo3mo>kho, - CTaHeT 
napajuiejibHO c nonoM, 3a Bameii tojioboh. 

nocjie Toro KaK Teno nojiHOCTbio "B03JieacHT", BBiTHHyrb jieByio Hory h CTony BnepeA. 
Bee Teno aojhkho 6bitb ropH30HTajn>HO (napajuiejibHO) k nony. 
noAHHMHTe h onycTHTe pyKy b CTOpOHy, nocjie Toro KaK Teno b binpa m ji a ctc a . 

Stand erect with feet together facing front. Lift left knee up high, close to chest, left arm 
extends front with palm hanging over knee. (Do not touch knee). 

Continue movement by 'reclining' until the body with arm extended - is parallel - as 
much as possible with the floor. - behind your head. 

After the body is fully 'reclined' extend the left leg and point toes out in front. The entire 
body should be horizontal (parallel) to the floor. 

Come up and lower arm to the side after the body comes erect. 


1-09. noAteM Ha Tpn tohkh [ Three Point Rise ] 

(*) HcxoAHoe nonoaceHHe: Aep^aTbca 3 a CTaHOK npaBoii pyKOH, Horn b nepBoii 
no3Hu,HH, neBaa pyxa HanpaBJieHa b CTOpOHy, neBoe kojicho cneraa npnno AtiaTO . 
BbinojiHaTb mbxh jicbbim kojichom BBepx-BnepeA HeMHoro b CTOpOHy pa3BepHyToro 
HOCKa, noTOM Ha3aA (c corHyTOH tojichbio, KaK HTanBKHCKHH apaOecK). noAHHMaa 
KOJieHO BBepx-BnepeA, h cneAHTe, hto6bi oho noAHHMajiocb Ha BbicoTy ao 6eApa, 
Acp>KHTC rojieHb BepTHKanbHO k nony h napajuiejibHO k Tcay. Pa3HHH,a 3ACCb b tom, 
hto6bi yAcp>KHBaTb kojicho npH noAtCMC ao 6eApa. B TexHHKe ,3,yHKaH kojicho b TaHpe 
He noAHHMaeTca Bbirne 6eApa. Hora He (jiHKCHpyeTca b Tonne, ho 3aBHcaeT 
ecTecTBeHHBiM o6pa30M. noBTOpHTb c Apyroii hoth. nocjieAOBaTejibHOCTb: Max BnepeA, 
onycTHTbca Ha naTKH (onycKaTBca KaK b nyHKTe 1 -04), Max Ha3aA, onopHaa Hora ctoht 
Ha nojiynajibpax, BepHyTBca b nonoacefflie nepBoii no3Hu,HH. PyKa nocToaHHO 
OTKpbiBaeTca b CTOpOHy, jiaAOHb otboahtch to b CTOpOHy BHyTpb, to b CTOpOHy 
Hapyacy. B 3aBepmeHHH - TpcTiiii no at cm Ha nojiynajiBpBi 3a TenoM. 

BcTaHbTe b nepBOH noan ri nH, c jieBoii pyKOH, HanpaBJieHHOH b CTOpOHy, CAeJiaiiTe 
jierKHH "noAteM" neBoro KOJieHa - bbicoko k rpyAH - h noAnaTB nepeA co6oh. 
BbinojiHaiiTe mbxh jicbbim kojichom BBepx h bhh3 bbicoko ao 6eApa, h noAHHMaiiTe ao 
CTOpOHBi e hotoh HanpaBJieHHOH Ha CTOpOHy npaBoro KOJieHa. He npHKaeaHTecB k 
KOJieHy, h A£p>KiiTe JieByio tojichb BepTHKajiBHO k nony - napajuiejibHO Teny. 

3aTeM CHOBa B3MaxHHTe hotoh h noAHHMHTe ee 3a tcjiom, KaK HTajiBiiHCKHH apaOecK (c 
COTHyTOH TOJieHBK)). 

Pa3HHH,a 3A0CB B TOM, HT 06 bI AOp^aTB KOJieHO B CTOpOHy OT TOJieHH HHace KOJieHa 
(KOTOpoe Ha BbieoTa 6eApa). 

B TexHHKe /JyHKaH mbi He noAHHMaeM b TaHpe kojicho BBirne neM 6eApo. Hora He 
(|)HKCnpyCTCH B TOHKe, HO 3aBHCaeT eCTeCTBeHHBIM o6pa30M. 

B noBTOpeHHH B 3 MaxHHTe neBOH hotoh c 3 aAH BnepeA, noAHHMaa Hory nepeA co 6 oh. 


23 



Stand in first position with left arm extended up to the side, take a light 'lift' of the left 
knee -high to chest- up in front of the body. 

Swing the left knee down and up to thigh heighth and up to the side with toes pointed 
toward the side of the right knee. Do not touch knee and keep the left lower leg vertical 
to the floor - parallel to the body. 

Then again, swing the leg and lift up behind the body as an Italian Arabesque (with the 
lower leg bent). 

The difference here is to keep the knee out to the side with the lower leg below the 
heighth of the knee (which is hip heighth). 

In Duncan, we do not raise the knee higher than the h ip in dancing. The foot is not 
pointed but, hangs naturally. 

To repeat, swing the left leg back to front raised front. 

riocne AOBaTejitHOCTt: 

Bnepe,n, Ha naabpbi Hor. 

Bhh 3 Ha npaBOH naTxe, h TaioKC KaK bbi aeaaan mbxh b CTOpOHy h BBepx Ha naabpax. 
Bhh 3 Ha hhtkh, MaxH Ha3aA h Ha naabpax Hor. 

3aBepmeHHa BepHyrbca b noaoaceHHe nepBOH no3Hu,HH. 

3Ta no3HH,HH yacp>KHBacTCH napamiejiBHO Teay. 

Pyxa yacp>KHBacTca nocToaHHO b CTOpOHy, aaaoHb b CTOpOHy (BHyrpb) h b CTOpOHy 
Hapyacy. 

KpOMe Toro, b 3aBepmeHHH, TpeTHH noAteM Horn 3a TenoM. 

Sequence: 

Up front on toes. 

Down on right heel and as you swing to side and up on toes. 

Down on heel, swing to back and up on toes. 

To end, bring back position to first position. 

This position is held parallel to the body. 

The arm is either held continuously out to the side, palm to side and out to side, 
also, for the final third lift of the leg behind the body. 


1-10. EoKOBbie H3rn6bi pyxn [ Side Arm bends ] 

(*) HcxoAHoe noaoaceHHe: Horn bo btopoh no3Hu,HH, pyxn pacKpbiTbi b CTOpOHbi. 
IIoAHHTb neByio pyxy HaA tohoboh h onycTHTb khctb co CBHcaiomHMH naabpaMH ao 
M axymxn touobbi Tax, hto6bi aeBbiH jioxotb ocTaaca pa3BepHyTbiM b CTOpOHy. CorHyrb 
Teno 3 pa3a b npaByio CTOpOHy, aeBaa pyxa ocTaeTca, xax 6 bi CBHcaiomaa HaA roaoBoil. 
Ha cneT 4 (TeMn Baatca) Teao AoaacHO BbinpaMHTbca. noBTOpHTB 4 pa3a BaeBO h 4 pa3a 
BnpaBO. /l,epacHTe TyaoBHHi,e BBepx. Ho3bohohhhx AoaaceH HaxaoHaTbca CTporo b 
CTO pOHy BnpaBO nan BaeBO. HnxorAa "He chahtc" Ha deApax. ^BHacemre deApa 
Hcnoab3yeTca b XoAtde h b pa3aHHHbix apyrnx ABH/KCHnax HyHKaH, xoTa h xaaceTca, 
hto mbi onHpaeMca, b nacTHOCTH, Ha deApa. Mbi He "chahm" Ha deApe. B 3tom ecTb 
pa3aHHHe. 

BcTaHbTe hoth Bpo3b (30 cm Apyr ot Apyra), pyxn b CTOpOHy. 

BbiCTaBbTe aeBbiil aoxoTb nameBHAHO HaA roaoBoil, a naabpbi nycTb CBHcaiOT. 


24 



CorHHTe Teno 3 pa3a b npaByio CTOpOHy. 

Ha cneT 4 (TeMn Bajitca) nycT& Teno BbipOBHaeTca, ho Aep>KHTe pyKy nap, toiioboh. 
noBTOpHTB 4 pa3a BJieBO, h 4 pa3a BnpaBO. 

Stand with feet apart (twelve inches apart), arms to side. 

Cup left elbow over the head and let the fingers droop. 

Bend the body three times to the right side. 

On the four count (waltz time) let the body come up but, keep the arm over the head, 
repeat four times to the left and four times to the right. 

* ,H,epacHTe TyjiOBHme BBepx. He no3BOJiaHTe BameMy no3BOHOHHHKy nporndaTbca hjih 
crndaTbca, KpOMe nan bjicbo hjih BnpaBO. HHxogga "He CH,n,HTe" Ha 6e,opax. ,H,BHaceHHe 
6capa Hcnoji&3yeTca b Xojibdc h b pa3JiHHHbix npyrnx nBnaccHHux ^yHxaH, xoth h 
xaaceTca, hto mbi omipaeMca, b HacraocTH, Ha 6e,npa. M&i He "chahm" Ha 6e,npe. B 3tom 
ecT& pa3JiHHne. 

* Hold the torso up. Don't allow your spine to sink or bend except to left or right, never 
'sit' on the hips. Hip movement is used in the Walk and various Duncan movements, 
although it seems we lean to a particular hip. We are not 'sitting' on the hip. There is a 
difference. 


1-11. noAteM&i Horn CMeHaa Bnepefl [ Front Alternating Leg Lifts ] 

(*) HcxojiHoe noao/KCHHc: BCTaTB jihu,om k CTamcy, ^epacaT&ca o6chmh pyicaMH. Ctoh 
Ha npaBofi Hore, noAHHMHTe jieBoe kojicho b&icoko k rpygn. B&iCTpo MeHaiiTe neByio 
Hory Ha npaByio h o6paiHO, onopHaa Hora ocTacrca Ha nojiynaji&pax. 

JIhh,om k 6appe, c o6chmh cpenjieHHbiMH khcthmh pyx. Ha npaBoii Hore, nojiHHMHTC 
JieBoe KOJieHO b&icoko k rpyzpi. 

nepeMeHUHTe cneBa HanpaBO, cnpaBa HaneBO, 6&iCTpo, nan b&i H,geTe Ha nantpax 
onopHofi Horn. 

Facing the barre, grip with both hands. Upon right toes, lift the left knee up to chest 
h eighth. 

Alternating left to right, right to left, rapidly, as you go up on the toes of the standing 
leg. 


1-12. noAteM&i Horn CMeHaa B6ox [ Side Alternating Leg Lifts ] 

(*) flcxoaHoe noao/KCHHc: BCTara Tax ace xax b npcabiaynjCM ynpa>K hchhh. Ctoh Ha 
npaBoii Hore, noAHHMHTe JieBoe KOJieHO b CTOpOHy, onycTHTe bhh3. nepexo,g Ha 
npaByio CTOpOHy. noBTOpHTB 6&iCTpo. 

BcTaH&Te Tax ace xax b npe/nanymeM ynpaacHeHHH. B 3tot pa3 Ha npaBbiii hocok, 
xogga JieBoe KOJieHO noAHHMaeTca b CTOpOHy. 


25 



Bhh3 BJieBO, nepexoA Ha npaByio CTOpOHy. rioBTOpHTB 6i>iCTpo. 

Stand the same as in the 'Front Alternating Leg Lifts'. This time, up on the right toes as 
the left knee is raised up to the side. 

Down on the left, up on the right side. Repeat rapidly. 


1-13. Epocoic Horn KoaeHO k rpyAH [ Knee to Chest Leg Throw ] 

(*) llcxoflHoe nono/KCHHc: BCTam Tax ace xax b npeabiayiHCM y n pa>i< hchhh . IIoAHHTBca 
Ha nojiynajibH,bi npaBoil Horn. IIoAHaTB neBoe xoneHO k rpyAH, OAHOBpeMeHHO 
HaKJiOHHTbca TynoBHipeM Ha^ KOJieHOM. C/iejiaTb Max neBOH Horoh Ha3a^-BBepx 
(xoneHO npaMoe), xax bo (|)paHH,y3CKOM apadecxe - BBepx, a He b 6ok, xax b pocchhckom 
apadecxe. KorAa Hora otboahtch Ha3aA, TynoBHipe (ronoBa h BepxHaa nacTB Kopnyca) 
HaicnoFHiCTca Ha3aa. KorAa bbi aocththctc HaH6ojiee BBrraHyroH no3Hu,HH - BepHHTe 
neBoe xoneHO BnepeA c HaxnoHeHHoii tojioboh. IIoBTOpHTb ynpaacHeHHe Ha npaByio 
Hory. 

BcTaHbTe, icaic h npoicae, ncpcA 6appe, h yacp >khb a htc ero o6chmh pyxaMH. 
IIoAHHMHTeci) Ha npaByio Hory. BeAHTe neBoe kojicho ao rpyAH, noxa BepxHaa nacTB 
Barnero Tcaa HaxnoHaeTca HaA hhm. 

Bbi6pocbTe neByio Hory (xoneHO npaMoe) o6paTHO npaMO h BBepx 3a co6oh (xax bo 
(|)paHu,y3CX0M apa6ecxe - c noAoniBbi Horn BBepx, He b 6ox, xax b pocchhcxoh 
apa6ecxe). 

KorAa bbi Bbi6pacbiBacTC (Hory) Ha3aA, Bama BcpxHim nacTb Tcaa, 6e3ycnoBHO, 
ABHaceTca npaMO, a ronoBa h BepxHaa nacTb Topca crudacTca Ha3aA. 

KorAa bbi AOCTHraeTe HanSonee BBiTXHyroH no3Hu,HH, BepHHTe neBoe xoneHO BBepx 
BnepeA c touoboh b HaxnoHe. 

Illar Ha neBOH CTone, h noBTOpHTe to ace ynpaacHemie Ha npaBoil. IIoBepHHTecB h 
nOBTOpHTe. 

Stand as before, facing the barre and holding with both hands. Raise up on the right 
toes. Draw the left knee up to the chest as your upper body bends over it. 

Throw the left leg (knee straight) back out straight and up behind you (as in a French 
Arabesque - with sole of foot up - not to the side - as in the Russian Arabeque). 

As you throw backward, of course, your upper body comes erect and head and upper 
torso are bending backward. 

As you reach the most extended position - return the left knee up in front with the head 
bent over. 

Step on the left toes and repeat this same exercise on the right. Reverse and repeat. 


1-14. Epocox hoth IlepeMemeHHe BnepeA [ Drawing Forward Leg Throw ] 

(*) HcxoAHoe nonoaceHne: BCTaTB jihu,om x CTaHxy, AcpacaTbca oGchmh pyxaMH. Teao 
Ha paccToaHHH BBiTHHyroii pyxn ot CTaHxa. Illar BnepeA npaBOH Horoh - pa3MecTHTe ee 
pAAOM co CTaHxoM. TeaoM noTaHyTBca BBepx Ha npaBoe 6eApo, noTOM onycTHTBca 


26 



bhh 3 Ha corayToe kojicho. JleBaa Hora c OTTHHyraM hockom, MaxoB&iM ABHiKeHHeM 
OTp&iBaeTca ot noaa (kojicho B&mpaMJieHo) h nepeMemaeTca c 3aAHero nojioacemoi b 
CTO pOHy, pHcya nojiyKpyr, h npnxoAHT b TpeTbio noBH im io nepeA npaBOH hotoh. Tejio 
HaTXHyro BBepx, cnHHa B&irHyTa, rojiOBa noBOpaHHBaeTca b CTOpOHy "pneyiomeH" 
HOrH. IIOBTOpHTB npaBOH hotoh. 

Bo3&MHTec& 3a 6appe o6chmh pyKaMH. Tejio Ha paccToaHHH B&iTHHyTOH pyxn ot 
CTaHKa. LLIar BnepeA npaBOH hotoh - pa3MecTHTe ee paAOM c 6appe. 

"IIpOBOAHTe" hjih "thhhtc" Banie Tejio k 6appe c npaBoro "BeAymero" 6eApa (b KOJieHe 
H3Th6 BBepx H BHH3). 

"IIpOBOAHTe" BnepeA jicboh hotoh (hockh OTTHHyr&i h HanpaBJieH&i b CTOpOHy), 
kojicho npaMoe h "o6pam,aeTca" k 6appe, TpeT&a no3HH,Ha. 

Ha jieBOH h npaBOH Horax. Tejio HaTXHyro BBepx, cnHHa B&irHyra, rojiOBa BBepx. IHar 
Ha jieByio Hory. H3th6 b jicbom KOJieHe. Bex jieBaa Hora HaxoAHTca Ha nojiy. 

B&i6poe&Te npaByio CTynHio h Hory - kojicho npaMO no3aAH, B&irne Ta3o6eApeHHoro 
cycTaBa. 

Kor^a b&i B&i6pocHTe npaByio Hory h "orrojiKHeTe" noji npaB&iM hockom - b&i Bee eipe 
npoaoji/KacTC Acp>i<aTb CTaHOK o6chmh pyKaMH. 

Bo BpeMa 3toto "oTTajiKHBaHHa" h BBepx k cnHHe - noBepHyTb rojiOBy Ha npaBoe 
njieno h ckjiohhtb rojiOBy BBepx (BbiTHHyTb rneio BBepx). 

BbiTHHyTaa cnHHa B03Bpam,aeTca e h3th6om b KOJieHe. noMeHaTb CTOpOHbi. 
nOBTOpHTB. 

Grip the barre with both hands. The body is at arms length from the barre. Step forward 
with the right foot - placed near the barre. 

'Draw' or 'puli'your body toward the barre with the right hip 'leading' (there is a 
bending down and up in the knee). 

The 'dragging' forward of the left foot (toes pointed and turned out to the side) knee 
straight is 'drawn' up to the barre, third position. 

Up on left and right toes. The body is forced upward, back arched, head up. Step on the 
left foot. Bending in the left knee. The entire left foot is on the floor. 

Throw the right foot and leg - knee straight up behind hip heighth. 

As you throw the right leg and 'push off the floor with the right toes - you are still 
holding the barre with both hands. 

During this 'push-off and upward to the back - turn the head over the right shoulder 
and incline the head upward (extend neck up). 

The back extension is returned with a bend in the knee. Reverse sides. Repeat. 


1-15. Ynpa/KHCHHC ApreHTHHCKoe TaHro [ Argentine Tango Exercise ] 

(*) HexoAHoe nojioaceHHe: BCTam npaBOH CTOpOHOH k cramcy, Aep^aTbca 3a CTaHOK 
npaBOH pyKoii h onycTHTbea Ha jieBoe kojicho, npaBoe corayro b KOJieHe, npOBecm 
JieBOH pyKoii BBepx h Ha3aa, KaK b TaHro. LhorHyTbCH ayroii Ha3aa h noAHaTbca Ha 
npaByio Hory b noBH ii Hio ctox, a 3aTeM CAejiaTb Max JieBOH hotoh npaMO nepeA co6oh. 
KocHyTbea HOCKa najibpaMH JieBOH pyKH, 3aTeM BepHyTbca b hcxoahoc nojioaceHHe. 
HenojiHHTb no 4 pa3a e JieBOH h npaBOH hoth. 


27 



flepacHTe 3a ctehok npaBOH pyKOH. BcTaHbTe Ha aeBoe kojicho, npaByio Hory Ha non, 
KOJieHO corayTO, npOBecm neByio pyi<y BBepx h Ha3aa, Kan b TaHro. 

H3orHyTtca ayroii Ha3aa h noaHUTbcn Ha npaByio Hory, b no3HH,Hio CTon, a 3aTeM 
BBi6pocHTB neByio Hory npnMO nepea co6oh. 

npHKOCHHTect nantpaMH k jicboh pyne, nan b pa3aene "Maxn hotoh Bnepea". Max 
neBOH Horon Ha3aa, h kojichh CHOBa OKancyTcn cneBa, 3aTeM c npaBOH Horn BepHHTecb 
b ncxoAHoe nononcemie. 

IIoBTOpHTe neTtipe pa3a Ha jicboh h npaBOH. 

Hold barre with right hand. Kneel on the left knee, right foot on the floor, knee bent, 
bring left arm up and back as in a Tango. 

Arch back and rise up on right leg to standing position and throw the left foot out 
straight in front of the body. 

Touch toes with left hand as in 'Front Leg Swing'. Swing left leg back and kneel again 
on left with right foot in starting position. 

Repeat four times on left and right. 


1-16. Ta3o6eApeHHan oceBan Harpy3Ka [ Hip thrust ] 

(*) Hcxohhoc nono/KCHHc: BCTaTt npaBOH CTOpOHOH k CTaHKy, c napanjiejiBHBiMH 
CTonaMH, npH6nH3HTejiBHO 30 cm apyr ot apyra. H3orHyn> cmray Ha3aa, Harpy3Ka 
6eapa Bnepea, c kojichumh corHyrtiMH Bnepea, ncBaa pyi<a no a h h m acTOi b CTOpOHy 
nepe3 "BOJiHy", - "nMnyntc" naeT ot 6eapa, noTOM BOJiHOo6pa3Hoe aBHnceHHe ot nnena 
ao npcanjiCHbn, 3aTeM k aanacTbK) h ao kohhhkob nanbncB. Khctb pacnpaBJineTcn, 
"TOJiicaeT B03ayx" Bnepea, kbk 6bi pa3iviaxHBaa nanbMOBbiMH nncTbUMH hjih HanoMHHan 
BOJiHbi OKeaHa. 

BcTaHbTe npaBOH ctopohoh k 6appe c napajinejibHbiMH CTonaMH npH6jiH3HTejibHO 30 
cm apyr ot apyra. 

H30THyTb cnHHy Ha3aa, Harpy3Ka 6eapa Bnepea, c kojichumh corayTbiMH Bnepea, pyi<a 
BbiTHHyTa b CTOpOHy, tojihok H3 6eapa, h "nynbcanini" i icpc3 pyi<y ao kohhhkob 
nanbpeB. 

"nynbcapnen" nBnneTcn BOJiHOo6pa3Hoe aBnnceHne ot nnena ao mm pyKH, a 3aTeM k 
3anncTbnM h KOHHHKaM nanbpeB, aenaa TbinbHyio CTOpOHy pyKH BHyTpb h Hapyncy, KaK 
6bi pa3MaxHBan nanbMOBbiMH nncTbUMH, h KaK BonHbi OKeaHa. 

Stand with the right hand on the barre with feet parallel about twelve inches apart. 

Arch the back backwards, thrust hips forward with knees bent forward with arm 
extended to the side, push hips out and 'ripple' through the arm to the fingertips. 

The 'ripple' is an undulating movement from the shoulder to the lower arms and then to 
the wrists and fingertips, drawing the back of the hand in and out like waving palm 
leaves and the waves of the ocean. 


28 



1-17. IleTjra / ,3,B0HHaa neTna [ Hinge/Double Hinge ] 


(*) HcxoAHoe nonoaceHHe: He Aepacacb 3a CTaHOK, CTonti napannenbHO Ha paccToamm 
30 cm Apyr ot Apyra, pyKH pa3BeAeHbi b ctopohbi. CorHyrb Horn b xoneHax. ronoBa h 
TynoBHige AO kojich cocTaBnaiOT npaMyio jihhhio. Horn crnbaiOTca xax no3BonaiOT 
JIOABI5KKH. naTKH OTpbIBaiOTCa OT nOJia, KOTAa pyKH H KHCTH HAyT BHH3. CxnOHHTbCa 
HaA KOJieHaMH, corHyTB ronoBy h nnenH, acHBOT "yronneH". Hoahatb Teno nepe3 
KOJieHH h 6eApa b nonoaceHHe "neTna" h oOparao b nonoaceHHe "/],BOHHan neTna". 

neTna 

Hinge 

He Aepacacb 3a 6appe, pyxn b ctopohbi, HanmiaeM cniOaTb hoth b xoneHax BMecTe co 
CTynHHMH BMecTe, - napajuientHBiMH, OAHa Hora OTCTaBJieHa ot Apyroil; Ot tojiobbi ao 
KOJieH Teno aojdkho 6bitb coBepmeHHO no a npaMbiM yxnoHOM, xax jiHHHa. 

H3th 6, Tax nancKO b noAbiacxax, xax 3 to bo3mo>i<ho. llaTKH nonacHbi noAHaTbca ot 
nona, xorAa pyxn h xhcth HAyT bhh3. 

Without holding the barre, arms to sides, begin to bend down in the knees with the feet 
together - parallel, one foot apart, From the head to the knees the body should be on a 
perfectly straight slant - a line. 

Bend as far into the ankles as possible. Heels should rise off the floor with arms and 
hands down. 

,H,BOHHaa neTna 
Double Hinge 

CxnoHHTecb HaA xoneroiMH. CorHHTe ronoBy h nnenn HaA xoneHHMH. TKhbot 
" yronneH". noAHHMHTe Teno h noAHHMHTecb nepe3 xoneHH h 6eApa b nonoaceHHe 
"neTna", h oOpaTHO b nonoaceHHe ",Z],BOHHan neTna". 

Stoop over knees. Bend head and shoulders over knees. Stomach 'sinks in'. Push up 
body and up through knees and thighs to 'Hinge'position and back down to 'Double 
Hinge' position. 


1-18. 3axpynHBaHHe [ Pivot ] 

(*) HcxoAHoe nonoaceHHe: BCTaTb b u,eHTpe 3ana, hoth b neTBepTOH no3HH,HH, npaBaa 
Hora BnepeAH. JleBaa Hora AonacHa oxa3aTbca noA yrnoM 90 rpaAycoB. C nepeHOCOM 
Beca Tena Ha 3aAHK)io nacrb neBofi hoth, noAHaTb pyxn HaA ronoBOH, h npocneAOBaTb 
BnepeA- HaxnoHHTbca HaA BbiTaHyTOH CTonoH npaBoil hoth, xoTOpaa xacaeTca nona. 
HaxnoHHTbca ot noaca - Aepaca acHBOT BTaHyrbiM. B H3rn6e, coBepmaiiTe xpyroBbie 
ABHaceHHa pyxaMH, naAOHaMH bhh3, - HaxnoHHTbca BnepeA co cnerxa corHyrbiM neBbiM 
xoneHOM, npaBoe xoneHO npaMoe. 3aTeM BbinpaMHTb neBoe xoneHO, xorAa bbi 
corHeTecb b npaBOM xoneHe, h "npOTonxHeTe" xoneHO BnepeA, BbinpaMnaa npaByio 
Hory ao Hocxa, h pacTarHBaa cnHHy ot neBOH hoth ao hoth BbiTaHyTOH Ha nony. 
"3axpynHBaHTecb" b npOTHBononoacHOM HanpaBneHHH, noBopanoBaacb Ha nanbu,ax 


29 



cneBa HanpaBO, c pyicaMH, no-npe»cHeMy npoaneHHbiMH BBepx. Tenepb bbi HaxoaHTecb 
b npOTHBonojioacHOM noaoaceHHH. CorHHTecb bhh3 h noBTOpHTe "npOTajiKHBaHHe" 
KOJieHeii, Kax h npeacae, h "3aKpyHHBaHTecb" CHOBa b ncxoaHoe nonoaceHHe. 

BcTaHtTe b peHTp 3ajia b neTBepTOH ttobtt tt tttt, npaBaa Hora Bnepea. 

JleBaa Hora aonacHa oica3aTbca noa yrnoM 90 rpaaycoB. 

C nepeHOCOM Beca Ha 3aaHK)io nacTb aeBOH Horn, noaHaTb pyKH Haa tojioboh - 
npocjieaoBaTb Bnepea. 

HaKJiOHHTec& Haa BbuaHyroH CTonofi npaBOH Horn - KOTOpaa xacaeTca nojia. 
HaKJiOHHTecb ot noaca - aepaca >khbot BTaHyrbiM. B H3rH6e, coBepniaiiTe KpyroBbie 
aBH>KCHiia pyKOH, nano Ha mm bhh3 - HaKaoHHTbca Bnepea co cnenca corHyTbiM neBbiM 
KoaeHOM, npaBoe kojicho npaMoe. 

3aTeM BbinpaMHTe neBoe kojicho, a xoraa Bbi corHeTe Hory b npaBOM KOJieHe h 
" npOTOJiKHeTe" Bnepea, - BbiTaHHTe npaByio Hory Ha hocok, h pacTaHHTe cmmy ot 
aeBOH hoth ao npaBOH hoth, BbiTaHyron Ha nony. 

"3aKpynHBaHTecb" b np othbo n ojto>khom HanpaBJieHHH, noBopaMHBaacb Ha naubpax 
cacBa c pyxaMH no-npc>KHCMy npoaacHHbiMH BBepx. 

Tenepb bbi HaxoaHTecb b npOTHBononoacHOM nonoaceHHH. CorHHTecb bhh3 h 
noBTOpHTe "npOTajiKHBaHHe" kojichch, Kax h npeacae, h "3a[<py i iHBaHTCCb" CHOBa b 
HexoaHoe nojioaceHHe. 

Stand in the center of the room in fourth position, right foot front. 

The left foot should be turned out to a ninety degree angle. 

With weight on the back left foot, raise arms overhead - coming up in front. 

Lean over the extended toes of the right foot - which is touching the floor. 

Bend over from the waist - holding in the stomach. In an arched, rounded arm 
movement, palms down - bend over with the left knee bent slightly, right knee straight. 
Then, straighten the left knee as you bend in right knee and 'push through 'forward - 
stretching the right leg up on the toes and stretching the back left leg to toes extended on 
the floor. 

'Pivot' to the opposite direction by turning on the toes to the left with arms still extended 
up. 

Now you are in the opposite position. Bend down and repeat 'push through ' knees as 
before and 'Pivot' back again to the starting position. 


30 



• 2. THMHACTHKA == GYMNASTIC • 


2-01. rHMHacTHHecKHe ynpa>KHCHHJi [ Gymnastic Exercises ] 

2-02. Ynpamremin pyxaMH [ Arm Exercises ] 

Maxn pyKoii 
Arm Swings 

(*) HcxoAHoe nojioaceHne: Horn BMecTe, pyior HaA tojioboh. Max pyxaMH bhh 3, noTOM 
BBepx, pacKptiB Horn b ctopohbi (30 cm). IIobtophti>. Hepe^OBaTB 2 pa3a h BepHyT&ea b 
ncxoAHoe nojioaceHne. 

Horn BMecTe, pyior HaA tojioboh, Maxn bhh3 h BBepx (paecTaBHB Horn Ha 30 cm). 
IIOBTOp. 

"IIoACKaKHBan" cjiojxhtb pyxn. "IIoacxox" AnaocABi h hoahutb. 

Feet together, arms overhead, swing down and up (feet apart twelve inches). Repeat. 
'Bobbing' arms folded. 'Bob' twice and come up. 


2-03. Ynpamrefflin Pyica b6ok [ Side Arm Exercises ] 

CKpem,HBaHHe pyior b6ok 
Side Arm Cross 

(*) HexoAHoe nojrooceHHe: Horn nnrpoxo paecTaBJieHBi, pyxn Ha beApax, expecTHTB 
npaByro pyxy Tax, hto6bi xocHyT&en 3a npeAeJiaMH oeBoir Horn. IIoBTOpeHHe cjieBa 
HanpaBO, 4 pa3a. 

Horn HinpoKO paecTaBJieH&i, pyxn Ha 6eopax, expecTHTt npaByro pyxy Tax, hto6bi 
xocHyrtca 3a npe^eoaMH oeBoir hoth. 

EloBTOpHTi) 4 pa3a coeBa HanpaBO. 

Feet wide apart, hands on hips, cross right hand to touch the outside of the left foot. 
Repeat left to right, fout times. 


2-04. EIoacxox [ Bobbing ] 

(*) IIoacxoxh na oahoh Hore e noAHHMamreM corHyToir b xojieHe hoth x rpyAH h nepe3 
CTOpOHy x noeny noA eneT: 

- BBinojiHaa noAexox Ha CTone oeBoir hoth, OAHOBpeMeHHO noAHUTB corayTyio b 
xojieHe npaByio Hory BBepx x noeny, onyexaa npaByio Hory, noBTOpHTt noAexox Ha 
oeBoir. 

- BBinojiHHTB to >xe, ho Ha Apyroir Hore. 

- BBinojiHaa noAexox Ha CTone oeBoir hoth, OAHOBpeMemro noAHUTB corHyTyio b 
xooeHe npaByio Hory x noeny nepe3 CTOpOHy; onyexaa npaByio Hory, noBTOpHTt 


31 



no^CKOK Ha jieBOH Hore. 

- BBinOJIHHTB TO >KC, HO A™ ApyrOH HOTH. 



2 - 05 . HaKJiOH [ Slant ] 

(*) HcxoAHoe nojioaceHHe: hoth b neTBepTOH no3Hu,HH, neBaa Hora BnepeAH. Ckojib3htb 
BHH3 npaBOH pyKOH BAOJIB 6eApa. riOBTOpHTB C ApyrOH CTOpOHBI. 

HanHHTe c JieBOH hotoh BnepeA, npaBaa Hora Ha3aA, Ha npaBOH CTOpOHe, CKOJiBaceHHe 
npaBOH pyKOH bhh 3 baojib 6eApa. 

IIOBTOpHTe C ApyrOH CTOpOHBI. 

Start with the left foot forward, right foot back, on right side, sliding right hand down 
along thigh. 

Repeat other side. 


2 - 06 . riepeKaTBiBaHHe Tena [ Body Roll ] 

(*) HcxoAHoe nojioaceHHe: BCTaTB npaMO. HaKJiOHHTBca BnepeA, ocboOoahb mbi titttb t 
cnHHBi, men, njienH, pyKH Kai< 6 bi "noBHCHyB". IIoBOpaHHBaTB TyjiOBHiu,e c 
CBHcaiomHMH pyxaMH HanpaBO, noTOM HaneBO. 

CTaHBTe ripaMO. HaKJiOHHTecB BnepeA ot Tajinn - HaKJiOHaa Teno HaA Tanned - 
nOBHCHyTB CBO6OAHO C BHCHIHHMH pyKaMH. 

IlepeKaTBiBaHTecB Ha npaByio CTOpOHy, npOAOJincadTe abh>kchhc Ha3aA, h Ha neByio 
CTOpOHy ABHradTecB BnepeA. Pa3BepHHTecB. 

Stand erect. Bend forward from the waist - leaning the body above the waist - to hang 
loosely with arms dangling. 

Roll to the right side, keep moving to the back and left to come forward. Reverse. 


32 



2-07. Tpn tohkh TaHii,a [ Three Point Dance ] 


(*) HcxoAHoe nononcemie: ^epncaTcn 3a pyKH b ni npoKOM Kpyre. YnacTByiOT hcckojibko 
nenoBeK. HanpaBBTe jieB&ie naji&n,&i Tax, hto6bi KOCHyT&ca nona c neBOH ctopoh&i, 
CKanoK, nocTaBHTB neByio Hory Ha non. CicaHOK, omycTHTB pyKH, nepeKpem,HBan pyKH, 
ncpcnaBaTb npyr npyry h nonmiTb Bncpcn h npbirHyTb BBepx, nep>Kacb 3a pyKH. 
IIOBTOpeHHe. 

HecKOJibKO TaHuopoB ncp>KaTca 3 a pyKH b ninpoKOM Kpyre. HanpaBBTe neBbie nanbpbi 
Tax, hto6bi KOCHyTbea nona c neBon CTOpOHbi, cxanoK, nocTaBHTB neByio Hory Ha non. 
npbimyTb, 3aTeM omycTHTB pyKH, nocne pyKH nepexpecTHTB, CHOBa B3aTbca 3a pyKH, 
noTOM noAHaTb pynn Bnepe/i h npbirHyTb BBepx, ^epncacb 3 a pyKH. noBTOpHTb. 

Several dancers hold hands in a wide circle. Point left toes to touch floor to the left, 
hop, left foot back on the floor. 

Hop, let go of hands, crossing arms passed each other and up in front and jump up, 
hold hands. Repeat. 


2-08. npbDKKH [ Jumps ] 

(*) HcxoAHoe nononcemie: hoth b nepBOH noan Ti nn. ^epaorre na^OHH Bnepe/i, Rax 
6 yzrro hto-to HeceTe. JIokth corny™. ^epnca pyKH b 3tom nononcemiH, npbiraiiTe Ha 
MecTe. npbirHyTb bbicoko h "KOCHyTbea noTOJiKa" np h 3 c m n h t b c n Ha nanbpbi, 3aTeM Ha 
hoth, crnOan b KoneHe cnerKa CMaruHTb npbiacoK. 



CTaHbTe npaivio, b nepByio no3Hii,Hio. JJcp>KHTe nanoHH Bncpcn, KaK 6ynTO hto-to 
H eceTe. JIokth corHy™. JJep>Ka pyKH b 3tom nononceHHH, npbiraiiTe Ha MecTe. 
npbirHyTb bbicoko h "KOCHyTbca noTOJiKa" ripincMJiHTbCH Ha najibpbi, 3aTeM Ha hoth, 
crnOan b KoneHe cnerKa CMnrHHTb npbiacoK. 

Stand erect, first position. Hold palms up in front as if carrying something. Elbows bent. 
Keeping arms in this position, jump in place. 

Jump high to 'touch the ceiling' come down on toes, then the foot, bending in the knee 
sligh tly to cushion the jump. 


33 



2-09. JlaryniKH [ Frogs ] 


(*) Hcxoanoe nonoaceHne: Horn BMecTe, pyKH, jiaaoHH BBepx - Bnepean ce6a. 
npBirHyTB BBepx, roiTKaMH nyrb conpHKOCHyrbca b B03ayxe. Koraa Horn onycTaTca, 
OTTOJiKHyTbca h cacaaTb eme oany "JlaryniKy". He HanHHaTb aonojiHHTejibHbiH cican ok 
ao noaTarHBaHHC Hor, kbk b "npbDKKe". 

nocTaBbTe hoth BMecTe, pyKH, JiaaoHH BBepx - Bnepean ce6a. 
npbirHyrb BBepx, roiTKaMH nyrb conpHKOCHyrbca b B03ayxe noa BaMH. 

Koraa hoth onycTHTca, o tt o ji k h y t b c a h caeaaTb cluc oaHy "Jlaryimcy". 

He HanHHaTb aonojiHHTejibHbiH cicanoK ao noaTarnBaHHC Hor, xax b "npbDKKe". 

Stand feet together, hands, palms up - in front of the body. 

Jump up, heels nearly touch in the air under you. 

When the feet come down, push off and do another 'Frog'. 

Do not take an extra jump before pulling up legs as in the Jump'. 


2-10. EoKOBbie tojihkh [ Side kicks ] 

(*) Hcxoanoe nojioaceHHe: Horn BMecTe, pyKH, JiaaoHH BBepx - Bnepean ce6a, KaK b 
ynpa>KHCHHH "Jlaryimca". npbiacoK BBepx, pacKpbiTb Horn b CTOpOHbi. 

To ace nojioaceHHe pyK Bnepea, xaK b "Jlaryimca", "npbiacoK" BBepx; 

H TOJIHOK HOraMH B CTOpOHbi. 

Same front hand position as in the Frog', Jump' up. 
and kick the legs out to the sides. 


2-11. Ho>KHH Tib T [ Sissors ] 

(*) Hcxoanoe nojioaceHHe: To ace, hto "EoKOBbie tojihkh", ho hoth yaapaiOTca 
cnepeaH, 

npaBaa Hora /Ha3aa, JleBaa Hora h cnycTHTbca bhh 3. npbiacoK Bnepea (JI) h (n) Ha3aa, 
Ha MecTe. 

To ace, hto "EoKOBbie tojihkh", ho hoth yaapaiOTca cnepean, 
npaBaa Hora /Ha3aa, JleBaa Hora h cnycTHTbca bhh3. 
npbiacoK Bnepea (JI) h (n) Ha3aa, Ha MecTe. 

Same as 'Side Kicks' but, legs kick front, 

Right Leg /back, Left Leg and come down. 

Jump up front (L) and (R) back, in place. 


34 



2-12. nptDKOK Bo3BpaT Ha MecTO [ Jump Turns in Place ] 


npBDKOK C nOBOpOTOM 

Jump Turns 

(*) HcxoAuoe nojioaceHHe: Horn BMecTe, na^oroiMH BBepx. IIoAnpbirHyTb b&icoko, 
oueH& npaMO h noBepHyrbcn tcjiom no Kpyry c npH3eMJieHHeM b ncxoAHoe nononcemre. 
Pa3BOpOT. IIOBTOpHTB B ApyryK) CTOpOHy. 



(ncTbipc cneBa n HCTbipe cnpaBa) 

Jla/iOHiiMH BBepx, npbiraTb bbicoko, oneHb npnMO h BpaipaHTe Barne Teno no Kpyry c 
npH3eMJieHne m b ncxoAHoe nononceHHe. 

Pa3BOpOT. IIOBTOpHTe Ha Apyron CTOpOHe. 

(four to the left and four to the right) 

Palms up, jump up high, very straight and spin your body in a circle landing in start 
position. 

Shake out. Repeat on the reverse side. 


• 3. TAHEU, == MOVEMENTS • 

3-01-1. YnpancHemni Ha nony c 1 no 7 [ Floor Exercises 1 through 7 ] 

ynpa>KHCHHa Ha nony 
Floor Exercises 

1. CecTb Ha non, corHyrbcn Tax, hto6bi ronoBoil KOCHyrbcn KoneHen. 

2. PacKpbiTb Horn b CTOpOHbi h crnOaTb b xoneHe nonepeMeHHO. 

3. CecTb co CKpemcHHbiMH HoraMH h B r mb onHy Hory 3a nonbi>KKy h BbinpnMHTb ee 
BBepx. IIOTflHyTb. 

4. JlcHb Ha /Khbot, B3flTbcn 3a nonbi/KKH h nporHyTbcn. 

5. Jlenb Ha enHHy h noAHATb Hory no/i yrnoM ^eBnHOCTO rpa/iycoB k Teny. IIotom 
Apyryio. 

6. IToAHnTb OAHOBpeMeHHO o6e Horn noA yrnoM ^eBiiHOCTO rpa^ycoB k Teny. OnycTHTb 
BHH3. 


35 



7. Jlenb Ha cmmy h nonnara Horn npaMO, noxa ohh He roorHyrca Ha n tohoboh. 
IIoABHHyTB npaMbie Horn, noxa ohh He KOCHyrea najibpaMH nona 3a tohoboh. 



1 . CecTb Ha non, corHyrbca Tan, hto6bi KOCHyrbca KOJieHen ronoBOH, pacTflHyrb pyKH. 

2. PaciHHpHTB Horn b CTOpOHbi h eorHyTbCH Han [<a>Knb[ m KOJieHOM nonepeMeHHO. 

3. CecTb co CKpemeHHbiMH HoraMH h, ynepncHBaTb onny nonbi>KKy, npOTflHyrb 3Ty 
Hory b B03nyxe. PacTJDKKa. 

4. JlcHb Ha /Khbot, yncp>KHBaTb Barnn nonbi/KKH (pyKaMH) h ncpeKaTbiBaTbca Ha3an h 

Bnepen Ha ncHBOTe. 

5. Jlenb Ha cmmy h 3aBecTH Hory non yrnoM 90 rpanycoB ot Tena. CorHyrbca h 
ncpcHTH Ha npyryio Hory. 

6. IIonHiiTb Hory, CTynHa corHyTa non yrnoM 90 rpanycoB k Hen, h corHyrb Hory non 
yrnoM 90 rpanycoB k Teny. 

3aTeM CMeHHTB Horn. 

7. Jlenb Ha cnHHy, nonnara Horn Han tojioboh h c "KBanpaiHbiMn" nontiacKaMH (90 
rpanycoB) KOCHyrbea nanbpaMH Hor nona Han BameH tojioboh. 

(Hepea HeKOTOpoe BpeMa, bbi OyneTe b cocToaHHH npHacaTb bcio nononiBy BameH Horn 
k nony.) 


36 



1. Sit on the floor, bend to touch the head to the knees, stretching arms. 

2. Extend legs out to sides and bend over each knee - alternating. 

3. Sit with legs crossed and holding one ankle extend that leg up in the air. Stretch. 

4. Lie on your stomach holding your ankles and rock back and forth on the stomach. 

5. Lie on your back and bring the foot to a n inety degree angle of the body. Flex and do 
the other leg. 

6. Lift leg with foot flexed to a ninety degree angle to the le. and the leg to a ninety 
degree angle to the body. 

Alternate legs, then. 

7. Lie on back, raise legs overhead and with 'squared' ankle (ninety degrees) touch the 
toes to the floor above your head. 

(After awhile, you may be able to press the entire sole of your foot to the floor.) 


3-01-2. YnpaacHemia b U,eHTpe 3ana [ The Center ] 
3-02. nporyjiKa [ The Walk ] 



3-02-1. XoA&6a [ Walking ] 

(*) TexHHKa IHara. BcTara npaMO, nonyBCTBOBaTt couhchhoc cnneTemre. flcpcxoa c 
oahoh Horn Ha Apyryio AonaceH npOHCxoAHTt 6e3 tojihkob, HenpeptiBHO h coBepmeHHO 
cboOoaho. MeAJieHHO AenaeM HeOojmmoH mar npaBoir Horoh BnepeA, n, CHanana 
KacacMca nona hockom CTonti, noTOM CTaBHM Ha bcio CTynmo h nepeHOCHM TaacecTE. 
Tena Ha npaByio Hory. B momcht BbiHoea Horn BnepeA, HyacHO hcckojibko ocnaOnTb 
rojieHOCTonHbiH cycTaB, OnaroAapa neMy CTona CBneaeT nantpaMH bhh3. Tojibko nocne 
Toro, Kax naTKa npaBOH Horn KOCHynacb nona, naTKa jicboh Horn OTpbiBaeTca ot non a, 
noTOM Bca CTona ao Hocxa. flaatme, He ocTaHaBaHBaacb, hocok aeBoir Horn ckohb3ht 
no nony h CTaBHTca BnepeAH npaBoir Horn, h, TaioKC, CHanana KacacMca nona hockom 
CTonti, noTOM CTaBHM Ha bcio CTynHio h nepeHOCHM TaacecTb Tena Ha aeByio Hory. IIpH 
3tom, naTKH CTaBaTca no npaiviOH hhhhh, a hockh HanpaBacHbi HCCKoabKO b CTOpOHbi. 
OcaaOncHHC Mbimn,, noAAcp'/KHBammHx rojieHOCTonHbiH cycTaB, abct npaBHHBHoe 
ABHaceHHe. 


37 



neper! HananoM xoab6li n nonnoia ormcaTb, KaK mbi xoahm b TexHHKe flymeaH. 

CTaHbTe npnMO h noHyBCTByiiTC CBoe couhchhoc enncTCHHC. 5Khbot BTHHyr, aa^Haa 
nacTt 3anpaBJieHa BHyTpb, 6enpa ckhohchbi Ha3an. IIoAHHMHTe npaBoe kojicho no 
ypOBHa 6enpa, HHnero He ne-aan c Horofi. 

MeAJieHHO noMecTHTe Hory Ha non, cnenaHTe He6ojn>moH mar Bnepen. 

B TexHHKe /JyHKaH, mbi pa3Mem,aeM CHanana nanbiibi, 3aTeM bcio CTynHio, h, HaKOHcn, 
naTKy. 

3to achctbhc ecTb "npOKaTbiBaHHe", ho He: naneu/Ka6jiyK, /naneu,/Ka6nyK. 

Beet Bee nepeHOCHTcn Ha neByio Hory (He 3a6ynBTe "3a(f)HKCHpOBaTb" roneHOCTon, 
KoneHO h 6eApa). 

Before commencing the Walk I should describe how we walk in Duncan Technique. 

Stand erect and feel the Solar Plexus. Stomach in, seat tucked in, hips inclined 
backwards, raise the right knee to hip level, not doing anything with the foot. 

Slowly place the foot down on the floor a small step in front. 

In Duncan, we place the toes, then the whole foot, finally the heel. 

It is a 'rolling' action, not: toe/heel, /toe/heel. 

All weight is on the left leg (remember to 'hold' in the ankle, knee and thigh). 

IIoMecTHTe npaByio CTymno bhh3, ecTecTBeHHMM o6pa30M, i<ai< npn xonb6e. riocne 
Toro Kax Bee nepeHAeT Ha npaByio Hory, nepeHecHTe Bee c neBOH Horn, no-npencHeMy 
Acp>Ka neByio CTymno Ha nony, Teno Tenepb nepcMcmacTCH Bncpcn Ha npaBOM 6cnpc, 
neBaa Hora BbiTarHBaeTOi Ha nony no3aAH neBOH Horn. 

Place the right foot down naturally as in walking. After the weight is on the right leg 
release the weight from the left leg, still keeping the left foot on the floor, the body is 
moved forward now on the right hip, the left toes stretched on the floor behind the left 
leg. 

MeAneHHO ocboSoahtc nanmiM neBOH Horn, nocTeneHHO npOBeAHTe neByio Hory ot 
6enpa no KoneHa TaK, hto6m CTymin HaxonHnacb Bnepenn b coctouhhh noKon. 

Tenepb neBMH hocok KacaeTcn nona. 

npononncHTb nepe3 CTynHio Ha nnTKy, a 3aTeM nepeHecm Bee CHOBa, Ha 3 tot pa3 
BneBO. 

npononncHTb hath Bnepen b 3toh MaHepe. n o n pa kthk o b aTb ca b xonb6e 6biCTpee h 
MenneHHee. 

Bee nepenaeTcn nepe3 nepexon ABnnceHnn ot oahoto 6enpa no npyroro. 

Slowly release left toes, bring left leg gradually from hip to knee to foot to resting 
position in front. 

Now the left toes are touching the floor. 

Continue through the foot to heel, then transfer weight again, this time to the left. 

Continue walking forward in this manner. Practice walking faster and slower. 

The weight is transferred through a shifting movement from one hip to the other. 


38 



3-02-2. nporynKa BapnapHH 1-9 [ Variations 1-9 ] 

nporyjiKa (BapnauHH c 1 no 9) 

The Walk (variations 1 through 9) 

(*) MyabiKa k nbccc «Po3aMyHAa, npHHpecca Knnpa», D 797 (LUydepT) 

Rosamunde Music for the Play, D. 797 (Schubert, Franz) 

http://predanie.ru/shubert-franc-peter-franz-peter-schubert/muzyka-k-pese-rozamunda- 

princessa-kipra-d-797/ 

nporynKa no KpyroBon TpaeKTOpnn BOKpyr KOMHaTbi. ( Po3aiviyH,ac IIIydepTa) 

Walk in a circular path around the room. (Rosemunde by Schubert) 

(*) Hath MeAJieHHO BnepeA, onycTHB rjia3a b non, ronoBa nocTeneHHO onycKaeTca, KaK 
dy^TO HeceTe Taxcejibiii rpy3. Hoahutb npaByio pyKy BnepeA, khctb CBodoAHO CBneaeT 
bhh3. JIokotb cnerKa H3omyT Hapyacy, nneuo He n o a h h m ac tch . Tejio npOAOJincaeT 
MeAJieHHO c 3aTpyAHeHneM ABnraTbca BnepeA- nocTeneHHO rojiOBa npnxoAHT b 
BepTHKanbHoe nono/KCHHC, pyxa onycxacTCfl b CTOpOHy. 3aTeM ronoBa MeAJieHHO 
noAHHMaeTca BBepx, rna3a CMOTpaT BBepx, n jieBaa pyxa noAHHMaeTca BBepx k rnieuy, 
pyi<a H3HCMO/KCHHO onycKacrcfl ot 3anacTbH. MeAJieHHO BepHyrb ronoBy npaMO h 
n03B0JIHTb pyKC BCpHyTbCa B CTOpOHy, JIOKOTb npH 3TOM OnupaCTCH Ha BHyTpCHHK)K) 
CTOpOHy deApa, pyKH OTKpbiTbi, cnerKa H30THyrbi BHyrpb no doxaM. 
no Mepe toto xax Teno BbinpaMJiaeTca, h y >kho yBejiHUHTb cxopocTb xoAtdbi, h noAHHTb 
pyKH BBepx, Rax nrapa b noneTe, JiaAOHHMH bhh3. /^BHraacb c ycKOpemieM, noAHiiTb 
pyKH HaA tojioboh ncpc3 CTOpOHbi. 3aTeM, KOTAa b My3biKe noaBHTOi dojibinaa BOJiHa, 
dpocHTb ronoBy dbiCTpo Ha3aA h b to ace BpeMn, cxpecTHTb b KOJiedaTenbHOM 
ABHnceHHH OTKpbiTbie JiaAOHH Ha 3aroiCTb5ix nepeA jihh,om. 3aTeM pyKH pacKpbiBaiOTOi b 
CTOpOHbi Ha ypOBHe nneua, b to BpeMn xax ronoBa MeAJieHHO npHxoAHT b 
BepTHKajibHoe nono/KCHHC. PyKH MeAJieHHO onycKaiOTCfl b CTOpOHbi, ho cjierKa 
corHyTbie b jioktux. Hath dbiCTpo, npOBecTH pyKH c otkpbitbimh jiaAomiMH k jieBOMy 
deApy - tjmah bhh3. 3aTeM OTKpbiTb npaByio pyi<y h hath, kbk ecjiH dbi bbi cjieAOBajiH 
3a CBoeh npaBoii pyKoii, jieBaa pyxa OTCTaeT, dbiCTpo ABHraTbcn MapmeM. Ha xoAy 
CMeHHT npaByio pyxy Ha jieByio h hath 3a jieBoii pyKoii b Apyryio CTOpOHy. npOBecTH 
jieByio pyxy k npaBoii pyxe Ha npaBOM deApe. /dBHHceHHe pacnpeAejiaeTca npHMepHO Ha 
ABa mara. He ocTaHaBJiHBaacb, pacKauHBaTb ode pyKH HaA tojioboh, noBOpauHBaa Tejio 
CKpeiu,HBaTb pyKH cnepeAH, pa3BOAa hx b CTOpOHbi, HaA tojioboh h odpaTHO. 
nocTeneHHO ABHacemie 3aMeAJmeTcn noxa pyKH He ocTaHOBUTcn b nojionceHHe b 
CTOpOHbi. rojiOBa BbinpaMuacTca. MeAJieHHO ABuraacb BnepeA, noBepHyrbcn, 
nocMOTpeTb Ha3aA. BbrraHyrb pyxy h khctb, xax dyATO npomaeTecb. noBepHyrbcn 
BnepeA, onycKaa pyxy bhh3, MeAJieHHO hath BnepeA- 3to ecTb "/Jo CBHAamw". 
AHajiorHUHoe ABHacemie, tojibko c hoahutoh BBepx pyKoii, h ABHrancb cnHHoii no 
HanpaBJieHHio BnepeA c BOJiHOodpa3HbiM pa3MaxHBaioiH,HM abh>i<chhcm - 3to ecTb 
"npHTJiameHHe". 

Hahtc MeAJieHHO BnepeA- 

Bee eiu,e MeAJieHHO maraa, onycTHTe raa3a b noji, noxa rojiOBa nocTeneHHO 
onycKacTca, MeAJieHHO, [<ai< dyATO HeceTe Tancejibiii Bee. 


39 



IIoAHHMHTe npaByio (pyxy) aaaoHbio bhh 3, onycTHTe Ha 3anacTte. JIokotb caerKa 
H3orHyr Hapyacy, naeno He n o a h hm ac tc a. 

Pyica BbiTarnBacTca Bnepea, hbh'/KChhc h Tea a, h pyx, h hot aoaacHbi 6 bitb b cocto5ihhh 
M eaaeHHoro 3aTpyn,HeHHoro ABHaceHHa Bnepea. 

IIocTeneHHO, roaoBa CTaHOBHTca npaMofi, pyxa onycxaeTca b CTOpOHy. 

Ha 3tot pa3 roaoBa MeaneHHO noaHHMaeTca BBepx, raa3a raaaaT BBepx, h aeBaa pyxa 
noaHaTa BBepx k naeny, pyxa H3HeMoaceHHO onycxaeTca ot 3anacTba. 

McaacHHO, aoBCCTH roaoBy npaMO h no3BoaHTb pyxe BepHyrbca b CTOpOHy. 

Koraa mbi BepHyrb pyxy k Teay, aoxoTb onHpaeTca Ha BHyTpeHHioK) CTOpOHy 6capa, 
pyKH OTKpbiTbi, caerKa H3orHyTbi BHyTpb no 6oxaM. 

no Mepe toto xax Teao pacnpaMaaeTca, hcmhoto yBeanabTe cxopocTb xoabfibi, h b to 
B pcivia kbk bbi hactc, noaHHMHTC pyKH BBepx, xax nTHpa b noaeTe, aaaoHaMH bhh3. 
,H,BHraacb Bee eipe c ycxopeHneM, noAHHMafiTe pyxn Haa roaoBofi no CTOpOHaM. 

3aTeM, Koraa b My3bixe noaBHTca fioabinaa BoaHa, 6pocbTe cboio roaoBy 6biCTpo Ha3aa 
h b to ace Bpcivia, cxpecTHTe b Koae6aTeabHOM ABHaceHHH OTKpbiTbie aaaoHH Ha 
3anacTbax nepea Ba ni HM amjOM. 

npoaoaacaiiTe b otkpbitom noaoaceHHH pyx, pyxn aoaacHbi OTxpbiTb ao noaoaceHHa 
naena, b to ace BpeMa roaoBa MeaneHHO aocTHraeT pOBHoro BepTHxaabHoro 
noaoaceHHa. 

Bbi MoaceTe MeaneHHO onycTHTb pyxn b CTOpOHbi, ho caerxa comHTe hx b aoxTax. 
HanTe 6biCTpee, npOBOAHTe pyxn h OTxpbiTbie aaaoHH x aeBOMy 6eapy - raaaa bhh3. 
3aTeM OTxpOHTe npaByio pyxy h hahtc, xax ecan 6bi bbi caeaoBaaH 3a CBoefi npaBofi 
pyxofi, OTCTaBaa aeBofi, MapmnpyfiTe Bnepea 6biCTpee. 

Bee eipe npoaoaacaa aBHaceHHe, noBepHyTbca c aeBofi CTOpOHbi Ha npaByio, pyxn 
Tenepb mchhkit HanpaBaeHHe BcnaTb. 

Beaa Bnepea aeBofi pyxofi (npaBaa pyxa no3aaH Bac) npOBecTH aeByio pyxy x npaBofi 
pyxe Ha npaBOM 6eape. 

Ha 3tot pa3, xaacaoe ABHaceHHe b pacxnaabiBaeTca Ha asa rnara... npH6aH3HTeabHO. 
3aTeM, Ha 6biCTpOM xoay, pacxanHBafiTe o6e pyxn Haa roaoBofi h asHrafiTecb "nepe3 
Teao", cxpeipHBafiTe pyxn cnepeaH H3 CTOpOHbi b CTOpOHy Haa roaoBofi h o6paTHO. 
BapbHpOBaTb ABHaceHHa, npn 3 tom npoaoaacaTb pacxan hbbk)luhcch ABHaceHHa. 
BbinoaHUTb McaaeHHbie ABHaceHHa, ao Tex nop, noxa aaaoHH He oxaacyTca no 
CTOpOHaM, xax a yace ofibacHaaa paHbine. 

ToaoBa npaMO. MeaneHHO ABHraacb Bnepea, noBepHyTbca, hto6bi nocMOTpeTb Ha 
Ba iiT Hx xoaaer TaHpopOB 3a co6ofi. BbiTaHyrb pyxy h xhctb, xax 6yaTO pa3MaxHBaa "Ho 
CBHaaHHa". 

noBepHHTe Bnepea, npOHoea pyxy bhh3, MeaneHHO hahtc Bnepea. 

3to ecTb "BoaHa Ho CBnaamia". AHaaornnHoe ABHaceHHe, Toabxo c noaHaTofi pyxofi 
Bbirne, h ABHraacb 3aaoM no HanpaBaeHHio Bnepea c BoaHOo6pa3HbiM pa3MaxHBaioiii,HM 
ABHaceHHe m - 3to ecTb "npHraameHHe". 

Walk slowly forward. 

Still wadding slowly, lower the eyes to the floor as the head is being gradually lowered, 
slowly, as carrying a heavy weight. 

Raise the right palm down, drooping at the wrist. The elbow is curved slightly outward, 
the shoulder is not raised. 

The arm extends forward, the motion of the body and arm and feet must have a 


40 



condition of slow labored movement forward. 

Gradually, the head comes erect, arm comes down to the side. 

This time the head is slowly raised up, eyes look upward and the left arm is raised up to 
shoulder heighth, hand drooping from the wrist. 

Slowly, bring the head erect and allow the arm to return to the side. 

When we return the arm to the body the elbow rests on the inside of the hip, hands open, 
slightly curved inward to the sides. 

After the body comes erect, pick up the speed of the walk, sligh tly and as you walk, raise 
your arms up like a bird in flight, palms face down. 

Walking still faster, raise the arms over the head out to the sides. 

Then, as the music surges, throw your head back fast and at the same time, cross in a 
swaying motion the opened palms at the wrists in front ofyour face. 

Continue to an open arm position, the arms should open to the shoulder position the 
same time the head slowly has reached an erect position. 

You can slowly lower your arms to the sides but, slightly bent at the elbows. 

Walking faster, bring the arms and opened palms to your left hip - looking down. 

Then, open your right arm and walking as if you were following your right hand, the left 
trailing behind, march forward, faster. 

Still moving, turn from the left side to the right - hands reversed now. 

Leading with the left arm (the right arm behind you) bring the left arm to the right arm 
on the right hip. 

This time, each movement is held for two paces... approximately. 

Then, in a faster running walk, sway both arms over your head and move 'through the 
body' crossing the arms in front from side to side above the head and back. 

Vary movements while continuing the swaying movements. Slow movements until palms 
are at sides as I have explained before. 

The head is erect. Walking slowly forward, turn to look at your fellow dancers behind 
you. Extend arm and hand as if'waving Good-bye'. 

Turn forward, bringing the arm down, slowly walking forward. 

This is the 'Wave Good-Bye'. A similar motion only with the arm raised higher and 
moving back to the front in a waving motion - is the 'The Beckoning'. 


41 



3-03. BantCHpOBaHHe [ Waltzing ] 

3-03-1. BantcoBtm mar [ Waltz Step ] 

(*) HcxoAHoe nononcemie: Horn b Tpen>eii noTH in m, npaBan Hora Bnepe^n neBOH, pyKH 
Ha OeApax (Ann TpeHHpOBKH). nepeHecTH Bee Tena Ha neByio Hory, npaBan Hora 
noAHHMaeTca Ha nonynanBii,Bi. CAenaTB mar Ha npaByio Hory h nepeHecTH Ha Hee Bee 
Tena, noTOM nepeHecTH Bee Tena odpanio Ha neByio Hory, noTOM onnn> Ha npaByio. 

Horn b TpeTBen no 3 Hu,HH, pyxn Ha denpax (Ann TpeHHpOBKH). 

BcTaTB Ha neBOH onopHoii Hore, npaBan Hora noAHHMaeTcn h HaxoAHTcn cnepeAH, 
oahh mar Ha roiTKy. 

IIoBTOpHTe mar. He cdnnncan hoth, bmccto ttoto, npaBan Hora noAHHMaeTcn Ha 
najiBH,Bi hot, b to BpeMn Kax neBan Hora A^JiaeT mar nepeA npaBOH hotoh, h noAteM 
npaBOH hoth 3aKpriBaeT neByio namey. 

Taxnce nponcxoAHT nepeHoe Beca c 6eApa Ha 6eApo, icaic h b nporynxe. 

Ha noAteMe, 6 eApa h hoth npoxoAHT noA TenoM. Bee Tena 6 yAeT BnepeAH 
pa 3 Mem,eHHn Beca Ha hoth. 

Feet in third position, hands on hips (for practice). 

Rise up on left supporting foot while the right foot raises and is placed in front, one step 
on heel. 

Repeat step. Don't close, instead, right foot raises up on toes while left foot steps 
forward of right foot and right foot instep closed to left heel. 

There is also hip to hip weight shift as in the walk. 

On the risings, the thighs and legs come under the body, the body weight precedes the 
placement of weight on the foot. 

noeneAOBaTenBHOCTL 
Illar (n) BnnoTHyio (JI) mar (n) 

Illar (JI) BnnoTHyio (n) mar (JI) 

Bee Tena naAaeT BnepeA, CHanana Ha npaBoe 6eApo, noTOM Ha neBoe. 

Sequence 

Step (R) close (L) step (R) 

Step (L) close (R) step (L) 

Body weight falls forward, first on the right hip. 


3-03-2. Ban&CHpOBaHHe Ha3aA (3-a noamiHa) [ Waltzing Backward (3rd position) ] 

(*) HcxoAHoe nononceHHe: hoth b TpeTBen no3Hii,HH. CAenaTB mar Ha3aA Ha (n) BdnroH 
(JI), nancy k (n) noAteM, mar Ha3aA Ha (n) em,e pa3. Illar Ha3aA mhmo (n) c (JI) h 
B 6nH3H (n) nnTKH k (JI) noA*>eM. 

Illar Ha3aA Ha (n) B6nH3H (JI), nnTKy k (n) noAteM, mar Ha3aA Ha (n) em,e pa3. 

Illar Ha3aA mhmo (n) c (JI) h BdnroH (n) nnTKH k (JI) noAteM. 


42 



Step back on (R) close (L) heel to (R) instep, Step back on (R) again. 
Step back past (R) with (L) and close (R) heel to (L) instep. 


3-03-3. BantCHpOBaHHe Ha MecTe [ Waltzing in Place ] 

(*) HcxoAHoe nojioacemie: pyKH b ctopohbi. IHar b CTOpOHy Ha (II), 6jih3ko (JI), mar 
(II). PacKanHBaHHe bjicbo nepexoA bjicbo (JI), 6jih3ko (II), mar (II). 

PyKH b CTOpOH&i, mar b CTOpOHy Ha (II), 6jih3ko (JI), mar (II). 

PacKanHBaHHe bjicbo nepexoA bjicbo (JI), 6jih3ko (II), mar (II). 

Arms out to side, step sideways onto (R), close (L), Step (R). 

Sway left stepping left (L), close (R), step (R). 


3-03-4. BajitCHpOBaHHe no /piaroHajiH nepe3 KOMHaTy [ Diagonal Across the Room 
Waltzing ] 

(*) IlepexoA H3 OAHoro KOHpa KOMHaT&i b Apyroii. HcxoAHoe nojioacemie: pyKH b 
CTOpOHBi. Illar (II), 6jih3ko (JI), mar (II) h ckojii>3hti> jicbbim kojichom BnepeA h Max 
Horoii noA yrjiOM k jicboh CTOpOHe h onycTHTt CTynHio Ha noji. 3aTeM, mar Ha (JI) 
6jih3ko (II), mar (JI) npOBecTH (II) kojicho BnepeA AO aomoTa h Max Horoii noA yrjiOM 
3a (II) CTOpOHy. ripoAOJi/KaTb ABHraTtea no KOMHaTe. 

IlepexoA H3 OAHoro KOHpa KOMHaTbi b Apyroh, pyKH b ctopohbi, mar (II), 6jih3ko (JI), 
mar (II) h CKOJibacemie jieBoe kojicho BnepeA h Max (hotoh) noA yrjiOM k jicboh 
CTOpOHe h noMecTHTB CTynmo (Ha mm). 

3aTeM, mar Ha (JI) 6jih3ko (II), mar (JI) npOBecTH (II) kojicho BnepeA AO aomoTa h Max 
(hotoh) no a yrjiOM 3a (II) CTOpOHy. IIpOAOJiacaTb ABHraTbea no KOMHaTe. 

Going from one end of the room to the other, arms out to sides, step (R), close (L), step 
(R) and slide left knee up front and swing at an angle out to left side and place foot. 

Then, step on (L) close (R), step (L) draw (R) knee up to stomach in front and swing at 
an angle out to (R) side, continue down the room. 


3-03-5. BajibcoBbiii noBOpOT [ Waltz Turn ] 

(*) HcxoAHoe nojioacemie: pyna Ha jicboh CTOpOHe okojio 6eApa. "MaHHTb" (II) 
npOTaHyToii pyKOH - jiaAOHb BBepx nepeA co6oh. OAHOBpeMemio, CAejiaTb (JI) 
BajibcoBbiH mar BnepeA Ha (II), 6jih3ko (JI), mar (II) noBbimeHHe (II) pyKH H3orHyroii 
HaA tojioboh, OAHOBpeMeHHO noBOpammaa Kopnyc BnpaBO, jihu,om b 
npOTHBonojioacHyio CTOpOHy toh c KOTOpoS HanajiH. Ilocjie noBOpOTa jieBaa Hora Ha 
bbicokhx nojiynajii>u,ax CTaBHTca 3a npaBOH. CAejiaTb oahh BajibcoBbiH mar, BnepeA (II) 
- h b to ace BpeMa npOBecTH npaByio pyny bhh3, HauHHaa "IIoAMaHHBaHHe" BnepeA h 
J ieBoe KOJieHO crHOaeTca c jicboh hotoh ocTaiomeHca Ha nojiy, cjierKa no3aAH Tejia. 


43 



C neBOH CTOpOHti Ha 6eape, "MaHHTb" (II) npOTaHyroH pyKoii - naaom> BBepx nepea 
co6oh. 

OAHOBpeMeHHO, caenaTb (JI) BajitcoBtiH mar Bnepea Ha (II), 6jih3ko (JI), mar (II) 
noBtimeHHe (II) pyKH H3orHyroH Ha 3 tojioboh, oaHOBpeMemio noBOpammaa Kopnyc 
BnpaBO, JIHH.OM npOTHBOnOJIOaCHO n03HH,HH, H3 KOTOpOH bbi HananH. 

Bbicoko Ha najitpax, neBaa Hora (Ha najmpax) pa3Mem,aeTca 3a tcjiom no 3aBepmeHHH 
noBOpOTa - OTOpBaTt jieBtie najmp&i Ha naTKe (JI) mar, oahh BajitcoBtiH mar, Bnepea 
(II) - h b to ace BpcMa npOBecm npaByio pyicy bhh3, HanHHaa "IIoaMaHHBaHHe" Bnepea 
h neBoe KoaeHO crndaeTca c neBOH Horoir ocTaiom,eHca Ha nony, cnenca no3aan Teaa. 

With left hand on hip, 'beckon' (R) arm outstretched - palm up in front of the body. 
Simultaneously, make (L) waltz step forward on (R), close (L) , step (R) raising (R) arm 
curved over the 

head at the same time turning the body to the right to face the opposite position from 
which you started. 

High on toes, the left foot (on toes) placed behind the body on completion of turn - come 
off left toes to rest heel (L) step, one waltz step, forward (R) - at the same time bringing 
the right arm down in starting 'The Beckoning'forward and the left knee bent with left 
foot resting on the floor lightly behind the body. 


3-03-6. BaabcoBoe hbh/KChhc /pia rpau,HH h 6anaHca [ Waltz Movement for Grace and 
Balance ] 

(*) HcxoAHoe nonoaceHHe: pyica Ha jicboh CTOpOHe okojio 6e,npa. Illar Bnepe/i Ha (II). 
IIpaBaa pyica noa hhm ac t ca b CTOpOHy BBepx. (JI) ocTaeTca C3aan, BbrraHyraa paaoM c 
TeaoM (He xacaacb). IIpOBecTH (JI) Hory BBepx k (II) b 3-io no3Hu,mo h npOBecm Teao 
ao nonoacemia pyKH (nocMOTpeTb BBepx). Illar Ha3aa (JI) npOBecTH (II) CTynHio Ha3aa, 
h pyKH caeayiOT k (II) k a c bo My 6eapy. IIoBTOpHTb. 

PyKH Ha neBOH CTOpOHe oxono 6eapa. Illar Bnepea Ha (II). IIpaBaa pyxa b CTOpOHy 
noTonKa. (JI) ocTaeTca C3aan, BbiTaHyTaa paaoM c TenoM (He Kacaacb). 

IIpOBecTH (JI) Hory BBepx k (II) 3-a no3HH,Ha h npOBecTH Teno ao nonoaceHHa pyKH 
(nocMOTpeTb BBepx). 

Illar Ha3aa CHOBa (JI) npOBecTH (II) CTynHa Ha3aa, h pyKH cneayiOT k (II) k neBOMy 
6eapy. IIoBTopeHHe. 

Arms to the left side near hip. Step forward on the (R). Right arm toward ceiling. (L) 
back resting, extended near body (not touching). 

Draw (L) leg up to (R) 3rd position and draw body up to the arm position (look up). 

Step back again with (L) drawing (R) foot back and the arms come down to (R) to left 
hip. Repeat. 


44 



3-04. Illar IIojibKa [ Polka Step ] 


(*) CAeJiaTt ab a rnara BnpHnpbDKKy Ha npaBOH Hore, jieBaa Hora bbihochtcm BnepeA c 
corHyTBiM KOJieHOM. ,H,Ba CKaHKOo6pa3H&ix rnara Ha jicboh Hore, npaBaa Hora kojichom 
B& mocHTca BnepeA c corHyr&iM kojichom. 3th rnarn aBJiaiOTca HeOojibuiHMH, jierKHMH 
h 6jih3ko Apyr k Apyry. 

CAejiaiiTe ab a mara BnpHnp&DKKy BnepeA Ha npaBOH Hore c neB&iM kojichom BBepx. 

,H,Ba CKaHKOo6pa3H&ix mara Ha jicboh Hore c npaB&iM kojichom BBepx. 

3th rnarn aBJiaiOTca h c 6oa b hi h m h , jierKO h 6jih3ko Apyr k Apyry. 

Take two hopping steps forward on the right foot with the left knee up. 

Two hopping steps on the left foot with the right knee up. 

The steps are small, light and close together. 


3-05. YnpyrHH 6er [ Bouncy Run ] 

(*) Teno abh/KCtoi c hoahhtbimh KOJieroiMH kbk noHH ABH>KCTca pbicbio. npH3eMJiaTbca 
JierKO Ha najibpbi. 

Teuo abh/KCtoi c hoahutbimh kojichumh b [<a>KAOM "MajieHbKOM 6 oapom 6ere" kbk 
noHH abh/KCtch pbicbio. npH3eMJuiTbca JierKO Ha najibn,bi. 

The body travels as the knees are raised in each 'little bouncy run' like a pony trotting. 
Land lightly on the toes. 


3-06. MaxoBbiH mar [ Swing Step ] 

(*) liCXOAHOe nOaO/KCHHC: BCTaTb npjIMO C BbITaHyTbIMH pyKaMH B CTOpOHBI. riOAHHTb 
npaBoe kojicho bbicoko BnepeAH ce6a. KorAa bbi onycTHTe npaByio Hory bhh3, hto6bi 
bbicoko "noATOJiKHyrb" Tejio, jieBaa Hora otboahtcx Ha3aA. HeOojibiuoii CKanoK Ha 
npaBOH Hore BbinojiHaeTca, KorAa JieBaa Hora pacKanaeTca BnepeA. JieBaa Hora 
onycicacTca Ha noji h npaBaa Hora pacKanacTca Ha3aA. KorAa bbi ACJiacTC Maxn 
KOJieHOM (corHyrbiM) Ha3aA, kojicho aojhkho 6bitb Ha BbicoTe 6eApa, He Bbirne [KaK 
HTajibHHCKHe apaOecKH], HnacHaa Hora bhcht HHace KOJieHa h CTonw bhcht cboOoaho. 
KaacABiii pa3, KorAa bbi ACJiacTC Max - otboahtc Hory Ha3aA - Hyaoio noBOpanHBaTb 
rojiOBy, HToObi nocMOTpeTb Ha Hory. PyKH ABHraiOTca k KOHHHKaM najibpeB. U,eHTp 
miKecTH nepepacnpeAenaeTca BnepeA h Ha3aA c kbikabim MaxoM HoraMH. Hora, 
KOTOpaa KanacTca BnepeA, BBiBOAHTca BBepx h Ha3aA. YnpaacHemie npOAOJiacaeTca c 
npOABHaceHneM no Kpyry. C kbikabim npbDKKOM Ha onopHyio Hory Tejio coxpaHaeT 
BepTHKajiBHoe nojioaceHHe. 

CTaTb II pa MO C BbITaHyTbIMH pyKBMH B CTOpOHBI. 

IIoAHHMHTe npaBoe kojicho bbicoko BnepeAH ce6a. 

KorAa bbi noMecTHTe npaByio Hory bhh3, hto6bi bbicoko ''noATOJiKHyTB'' Tejio, JiCBaa 
Hora noBepHyra Ha3aA. 


45 



HeSojituioii CKanoK Ha npaBOH Hore BbinoAHaeTca, KorAa neBaa Hora pacKanaeTca 
Bnepefl. 

JleBaa Hora pa3Mem,aeTCA Ha nony h npaBaa Hora pacKanaeTca Ha3aA. 

Koraa bbi acjiacTC Maxn koachom (corayTtiM) Ha3aa, kojicho aoa>kho 6bitb Ha BbieoTC 
6eApa, He Bbime [icaic HTaAbAHCKHe apaOecioi]. 

Hhxchaa Hora bhcht HHace KOJieHa h CTonti bhcat cbo6oaho. 

Ka>KHbiH pa3, Koraa bh acaacTC Max - OTMaxHBaeTe Hory Ha3aa - noBepHHTe cboio 
ronoBy, hto6bi nocMOTpeTb Ha Hory. 

,H,BHaceHHiI pyK TCKyT H3ALHHO K KOHHHKaM naabHCB. 

Ta 3 o 6 eapeHHaa oceBaa Harpynca nepepacnpcACAACTCA BncpcA h Ha 3 aa c KaacAMM 
MaxoM HoraMH. 

Hora, KOTOpaa KanaeTca BnepeA, bbiboahtca BBepx h Ha3aA. 

Tchachhhch (hto He npaBHJibHO bo Bpcivia npAMoro Maxa) ABAaeTca Max rojieHH h 
CT onbi "Hapyacy - BBepx - b B03Ayx", h 3aTeM noAteM KOJieHa k Tejiy. 3 to oniH6Ka. 
Teno TcpacT HMnyjibc, h aaa ynpaacHeHHa hco6xoahm toahok tcaa BncpcA tbkhm 
o6pa30M, hto6bi bbi MoraH npoAOA/KaTb abh>kchhc KpyraMH no 3aay, npn 3 tom c 
K aacAbiM npbiacKOM Ha onopHyio Hory npoHCxoAHT toahok TeAa npaMO k noTOAKy. 

Stand erect with arms outstretched to sides. 

Raise the right knee high in front of the body. 

As you place the right foot down to 'push-off the body high, the left leg is swung back. 

A small hop on the right leg is taken as the left leg swings forward. 

The left leg places on the floor and the right leg swings back. 

As you swing the knee (bent) back, the knee should be hip heighth, no higher [as an 
Italian arabesque]. 

The lower leg is hung below the knee and the foot hangs, loosely. 

Each time you swing - swing your foot back - turn your head to look at it. 

The arms movements flow gracefully to the fingertips. 

The hip thrusts back and forward with each swing of the legs. 

The leg that swings forward is brought straight up and back. 

The tendency (which is wrong during a forward swing) is to swing by the lower leg and 
foot 'out - up - in the air' and then raise the knee to the body. This is wrong. 

The body loses momentum for the exercise is to thrust the body forward to continue 
traveling around the room in a circle with each jump on the standing leg to thrust the 
body straight up to the ceiling. 


3-07. BpaipeHHe (ynpaacHeHna 1 h 2) [ Twirl (exercises 1&2) ] 

# 1 

(*) HcxoAHoe noAoaceHHe: hoahatbca Ha noAynaAbpbi npaBOH Horn, tcaom 
pa3BepHyTbca Ha npaBbifi yroA. npaBaa pyica noAHATa BBepx k npaBOMy yray, raa3a 
caeAyiOT ( 3 a naAbpaMH). JleBaa pyica HaxoAnTex Ha acboh CTOpOHe Teaa. CoxpaHATb 
6aaaHC. noBepHyrbca b hcxoahoc noAoaceHHe, pa3MecTHTe abaohh Ha acbom 6eApe, 
npaBaa Hora CTaBHTca BnepeAH acboh. 


46 



IIoAHHMHTe Teno Ha npaBOM HOCKe c TejiOM, HeMHoro HaicnoHeHHbiM k npaBOMy yrjiy 
noTOJiKa. 

npaB&ie najiBH,&i, naaoHH bhh3, BbiTAHyTbi BBepx k npaBOMy yrny, rna3a cneayiOT ( 3 a 
naji&u,aMH). 

JleBaa pyica naaoHbio bhh 3, Taicnce nporaHyra k neBOH CTOpOHe Tena. noaaep>KHBaHTe 
6anaHC. 

BepHyr&ca b Hcxoanoe nononcemre, pa3MecTHTe naaoHH Ha jicbom 6eape, npaBan Hora 
3aKp&iBaeT cnepeaH aeBtifi noateM. 

Raise the body up on the right toes with the body slightly inclined to the right corner of 
the ceiling. 

The right fingers, palm down, are outstretched upward toward the right corner, eyes 
follow. 

The left hand, palm down also, is held out to the left side of the body. Hold for balance. 
Return to start position, placing palms at left hip, right foot closes front to left instep. 

#2 

(*) Hcxoanoe nojioaceHHe: noamiTbcn Ha nonynanbu,bi npaBOH Horn, TejiOM 
paBBcpHyTbca Ha npaBbifi yron. Cockok c npaBbix nanbncB, xoraa Teno onycKacTca. 
IlIarHyTb k BHemHen CTOpOHe npaBOH CTynHH c neBOH CTynHen, h npOBeaHTe pyKH 
bhh3 Bnepea - caenairre ana nonon h mtcii b h bix ManeHbKHx rnara Ha MecTe, htoSw 
3aBepniHTb noBOpOT. 3 to aenacTca no npaiviOH mmim. 

IIoBTOpHTe no3y. Cockohhtb c nonynanbu,eB npaBOH hoth, xoraa Teno onycKaeTcn. 
IlIarHHTe k BHemHen CTOpOHe npaBOH CTynHH c neBOH CTynHen, h npOBeaHTe pyxn 
bhh3 Bnepea - caenaHTC aea aononHHTenbHbix ManeHbKHx mara Ha MecTe, hto6bi 
3aBepmHTb noBOpOT. 

3to aenacTCH no npnMOH hkhkh. 

Repeat pose. Jump off right toes when the body descends. 

Step over to the outside of the right foot with the left and holding arms down in front - 
make two additional little steps in place to complete the turn. 

This is done along a straight line. 

# 3. EbiCTpoe Bpam,aTenbHoe hbh>kchhc [ Rapid Twirl Movement ] 

(*) Hcxoanoe nononcemie: noamiTbcn Ha nonynanbpbi npaBOH hoth, TenoM 
pa3BepHyTbcn Ha npaBbiii yron. noannTb Hory, onycTHTb h noanpbirHyTb Ha Heir BBepx. 
JleBoe KoneHO cnerKa corayTO, (JI) Hory BbimHyTb ot 6eapa, noamiTb hcmhoto hh>kc 
ypOBHn Ta3o6eapeHHoro cycTaBa. npaBan pyxa TnHeTcn BBepx. JleBan pyxa OTBeaeHa b 
CTOpOHy - no3aan Tena. JleBan Hora B03Bpam,aeTcn 6nH3KO k npaBOH Hore. CaenaTb 
noBOpOT Ha MecTe. IHar Ha (JI), IHar (n), IHar (JI), 3aBepman noBOpOT, nocne 
B03BpamcHHa c neBOH hoth (nocne CKamca) ncBaa Hora npHdnHncaeTcn 6nH3KO k npaBoii 
Hore. Ho, b noBOpOTe, Ha caMOM aene, (neBan Hora) nepexoaHT Bnepea npaBOH CTynHH. 
Bo3BpaT (JI) LLIar (c nepeceneHneM npaBon) LLIar (n) Bee em,e Bpam,aeTcn, LUar (JI). 


47 



HaKJiOHHTe npaByio CTOpOHy Tcaa k npaBOMy yray KOMHaT&i. IIoMecTHTe npaByio Hory 
b tom ace HanpaBJieHHH, Kaic h Tejio (npaB&ra yroa). 

IIOAHHMHTe HOry, nOCTaBBTe CHOBa H "OTTOJIKHHTe" TCJIO BBepX (npbl/KOK). 

JleBoe KOJieHO caerKa corHyro, (JI) Hory BbiTaHyrb ot 6eApa, noAuaTb hcmhoto HHace 
ypOBHa Ta3o6eApeHHoro cycTaBa. 

n pa Baa pyica THHCTca BBepx. JlcBaa pyica npOTaHyra b CTOpOHy - n 03 a ah Tcaa. JlcBaa 
Hora B03Bpain,aeTca 6hh3ko k npaBOH Hore. 

Bbi ^ejiaeTe noBOpOT Ha MecTe. LLIar Ha (JI), LLIar (II), LLIar (JI), 3aBepmaa noBOpOT, 
nocjie B03BpaujeHHa c jicboh hoth (nocjie cfcamca) aeBaa Hora npHOamicaeTca 6jih3ko k 
npaBOH Hore. 

Ho, b noBOpOTe, Ha caMOM AeJie, (aeBaa Hora) nepexoAHT BnepeA npaBOH CTynHH. 
Bo3BpaT (JI) LLIar (c nepeceuemieM npaBoii) LLIar (n) Bee eni,e Bpam,aeTca, LLIar (JI). 

Incline the right side of the body toward the right corner of the room. Place right foot in 
same direction of body (right corner). 

Lift foot, place again and 'push-off body upward (jump). 

The left knee is slightly bent, (L) leg extended from the hip, raised to slightly below hip 
level. 

The right arm stretches upward. The left arm is held out - behind the body. The left foot 
returns close to the right foot. 

You do a turn in place. Step on (L), Step (R), Step (L), completing the turn, after the 
return of the left foot (after the jump) the left foot closes close to the right foot. 

But, in turning, it is actually crossed in front of the right foot. 

Return (L) Step (turn-crossing Right) Step (R) still turning, Step (L). 


3-08. npbDKOK c noBOpOTOM Ha MecTe [ Jump Turns in Place ] 

(*) npbirHyTb BBepx h noBepHyrtca. Bo BpeMa noBOpOTOB, npaBaa pyica BbinoimaeT 
"pe3KHe ABHaceHHa" ot 3anacTba b KpyroBOM ABHacemui, a neBaa pyica ocTaeTca 
npOTaHyTOH. noBOpOTbi noBTOpaiOTca b ObiCTpoii nocneAOBaTejibHOCTH. Pe3KHe 
noBOpOTbi b TaHii,e TpeOyiOT ObiCTporo noBOpOTa ronoBbi b CTOpOHy HanpaBJiemia 
ABHaceHHa. 3to npcAOTBpauiacT roaoBOtcpyaccHHC. Ecjih bbi omyrnaH 
roaoBOtcpy/KCHHC, CACJiaHTC mar Bncpca h HaKJiOHHTCCb Han KoncHaiviH Ha OAHy 
MHHyry. 

npbiaCOK C nOBOpOTOM 

Jump Turns 

npbirHyTb BBepx h noBepHyrbca. Bo BpeMa noBOpOTOB, npaBaa pyxa BbinoaHaeT 
"pe3Kne ABHaceHHa" ot 3anacTba b KpyroBOM ABHaceHHH, a aeBaa pyxa ocTaeTca 
npOTaHyTOH. 

noBOpOTbi noBTOpaiOTca b ObiCTpon noeaeAOBaTeabHOCTH. Pe3KHe noBOpOTbi b TaHu,e 
TpeOyiOT ObiCTporo noBOpOTa tohobbi b CTOpOHy HanpaBaeHHa ABHaceHHa. 3 to 
npeAOTBpaiu,aeT roaoBOi<py>KC hhc. Echh bbi omynuiH roao b o k py> k c hh e, CAeaaiiTe mar 
BnepeA h HaKaoHHTecb HaA KoaeHaMH Ha OAHy MHHyTy. 


48 



Jump up and turn. During turns, the right hand 'flicks' at the wrist in a circular motion 
and the left arm remains outstretched. 

Turns are repeated in rapid succession. Rapid turns in dance necessitate a rapid turn of 
the head toward the direction you are moving. This prevents dizziness. If you become 
dizzy, step and bend over knees a minute. 

3-09. LLIar b pbiraHCKOM TaHu,e [ Gypsy Dance Step ] 

(*) PyKH Ha OeApax, HauHHaTb (II) Horon BnepeA. JleBoe rnieno BnepeA, niar Ha (11) 
CTynmo. ILnenH Ha3aA, Horn BMecTe. IIobopot HanpaBO, nneno BnepeAH. 

PyKH Ha 6eApax, HanHHaeM (II) Horon BnepeA. 

JleBoe rnieno BnepeA, mar Ha (II) CTymui. 

IIjieHH Ha3aA (Horn BMecTe). 

IIoBOpOT HanpaBO, nneno BnepeAH. 

Hands on hips, start (R) foot forward. 

Left shoulder forward, step on (R) foot. 

Shoulder back (feet together). 

Reverse to Right, shoulder front. 


3-10. PyccKHH mar [ Russian Step ] 

(*) /],epacaT& pyKH Ha ypOBHe mien, mar (II) nepe3 (j)pOHT (JI). LLIar (II) h noBepHyTB 
ronoBy (JI) h nocMOTpHTe BBepx, HaKJiomra rnieno b abh^kchkh. 

flepacHTe pyKH Ha ypOBHe mien, mar (II) nepe3 (j)pOHT (JI). 

LLIar (II) h noBepHHTe ronoBy (JI) h nocMOTpHTe BBepx, ckjiohxx rnieno b abh^kchkh. 

Hold arms out to shoulder level, step (R) across front (L). 

Step (R) and turn head (L) and look up, inclining shoulder movements. 


3-11. C koji b>KC hhc b Ma3ypKe [ Mazurka Slide ] 

(*) HcxoAHoe nojioaceHHe: BCTaTB npaMO, npaBoil CTOpOHoii noBepHyT&ca k 
npOTHBononoacHOH CTOpOHe KOMHaT&i. JleBaa pyna khct&io onupaeTca Ha 6eApo, a 
npaBaa pyna BBiTHHyra no HanpaBJieHHio k ApyroMy KOHuy KOMHaT&i. B&iCTpo 
ckoji& 3 hti> Ha Horax. TonoBa noBOpauHBaeTCii b CTOpOHy npaBoil Horn. MemiHTe Horn, 
npaBaa Hora Bee BpeMa BeAeT, nona He AOCTHraeTe npOTHBonojio>KHOH CTOpOH&i. 
BepHyruca b hcxoahoc nonoaceHHe, ho BCTaTB neBOH CTOpOHOH h noMemrrb pyKH. 
^BHraTbca odpaTHO, ho Becm 6yAeT neBaa Hora. 

Ma3ypKa (CKoab/KCHHc) 

Mazurka (Slide) 


49 



CTaHtTe npaMO, npaByio CTOpOHy o6paTHTe k ajihhhoh CTOpOHe KOMHaTbi. 

C JICBOH KHCTbK) Ha 6CAPC H npaBOH pyKOH H KOHHHKaMH naJIBU,eB, BbiTaHyTbi MH B 
CTOpOHy Apyroro KOHpa KOMHaTbi, ohchb 6biCTpo ckojib3htb Ha Horax. "3aHepnHHTe" 
non BcnyniCH hotoh. 3a npeAcnaMH npaBOH hoth HanpaBtTe jihu,o HanpOTHB k toh ace 
AJIHHe KOMHaTbi. 

BbiCTpo nepeMemaiiTecb Hapyacy h nepeTaipHTe neByio Hory b CTOpOHy BnpaBO. 

IIpaBaa (Hora) npnxoAHT ot nona, Korna OHa Kaac^biH pa3 6yncT nocTaBJieHa ana 
CKOJibaceHHA, a neBaa ocTacTca Ha nony, hto 6 bi TaHyrbca BnpaBO. 

IIpH hoctit/KChhh npOTHBononoacHoro KOHpa KOMHaTbi, noMCHaHTC nonoaceHHe pyx h 
B eAHTe c neBOH hotoh c3aAH, nanbpbi b hcxoahoc nonoaceHHe. 

Stand erect, right side facing the length of the room. 

With left hand on hip and right arm and fingers outstretched toward the other end of the 
room, slide very fast on toes. 'Grab' the floor with leading foot. The outside of the right 
foot facing the same opposite length of room. 

Move out fast and drag the left foot up to the side of the right. 

The right comes off the floor as it is placed each time to glide and the left stays on the 
floor to pull to the right. 

Upon reaching the opposite end of the room, reverse hand positions and lead with the 
left foot back, toes in starting position. 


3-12. Eer [ Run ] 

3-12-1. IIoackok [ Skip ] 

nOflCKOK 

SKIP 

(*) HcxoAHoe nonoaceHHe: BcTaTb Ha hockh o6eHx hot. IIoAHaTb (II) KoneHO h 
nocTaBHTb (II) CTynmo bhh3, CKanoK (II), neBaa Hora MaxoBbiM ABHaceHHeM otboahtch 
Ha3aA, KoneHO corHyro. CHOBa noACKOK Ha npaByio (Hory), neBaa Hora AenaeT Max 
BnepeA, 3aTeM onycTHTb ee Ha non. KorAa neBaa Hora KOCHynaeb nona, npaBaa 
OTBOAHTca Ha3aA, KoneHO corHyTO. KorAa bbi AenaeTe Max neBOH hotoh BBepx Ha3aA, c 
KoneHOM coTHyrbiM k neBOH CTOpOHe noA yrnoM. Pyicn BbiTaHyTbi b ctopohm h 
pacTexaiOTca BMecTe c ABHaceHneM nepe3 Teno. 

BcTaHbTe Ha hockh o6eHx hot. IIoAHaTb (II) KoneHO h nocTaBHTb (II) CTynHio bhh3, 
CKanoK (II), KorAa bbi AenaeTe Max neBOH hotoh BBepx Ha3aA, c KoneHOM corHyraM k 
neBOH CTOpOHe noA yrnoM. 

CHOBa noACKOK Ha npaByio (Hory), KorAa bbi AenaeTe Max neBOH hotoh BnepeA h 
CT aBHTe (JI) Hory Ha non. 

KorAa neBaa Hora CTaBHTe a (Ha non), npaBaa Hora (KoneHO corHyro) KanaeTca no3aAH, 
KaK H B HCXOAHOM nOnOaceHHH C neBOH CTOpOHBI. 

PyKH BbiTaHyTbi b ctopohm h pacTeKaiOTca BMecTe c ABiiaccHiiCM i icpc3 Teno. KorAa 
Hora KanaeTca Ha3aA, cymecTByeT orpOMHaa Ta3o6eApeHHaa oceBaa Harpy3Ka BnepeA, 
KorAa Hora KanaeTca Ha3aA, rpyAB h o6nacTb Ta3a "oceAaiOT". " 


50 



Rise up on the toes of both feet, raise (R) knee and place (R) foot down, hop (R) as you 
swing left leg up behind with knee bent out to left side at an angle. 

Hop on right again as you swing left leg forward and place (L) foot on the floor. 

When left foot is placed, the right leg (knee bent) is swinging up behind as in the start 
position with the left. 

Arms are held out to sides, and flow along with the movement through the body. When 
the leg swings back, there is a tremendous hip thrust forward as the leg swings back, the 
chest and pelvic area 'caves-in'. 


3-12-2. Eer - Eer - IIoncKOK [ Run - Run - Skip ] 

RUN-RUN- SKIP 

(*) Bbicoko Ha nanupax, kojicho (II) BBepx, Bhh 3 Ha (II) acecTKO. IIpoGeacaTb nsa mara 
h 3anp&irHyT& Ha neByio (Hory). Eer-Eer-IIopcKOK (II) BBepx. Eer-Eer-nopcKOK. 

B&icoko Ha naji&pax, kojicho (II) BBepx, Bhh 3 Ha (11) acecTKO. 
npo6eacaT& nBa mara h 3anp&irHyT& Ha neByio (Hory). 

Eer-Eer-IIopcKOK (II) BBepx. 

Eer-Eer-IIopcKOK. 

High up on toes, knee (R) up, Down on (R) hard. 

Run two steps and hop up on the left. 

Run-Run-Skip (R) up. 

Run-Run-Skip. 

Eer 

The Run 

(*) HauaTB H3 yrna KOMHaT&i. B&icoko Ha nantpax, pyKH THHyroi k noTOiucy. Kai< 6&i 
napaa HaKJiOHHT&ca BceM KOpnycoM Bnepen, pyKH OTBopaTca Ha3ap. ^BnraTbca 
CTpeMHTen&H&iM 6eroM. Ilocjie Toro, ktk nocrarHyr npo thb onono >kh b r ii yron KOMHaTbi, 
nopHaTb KOpnyc h pyKH npoTflHyrb BBepx, 6&iCTpo pa3BepHyrbca h noBTOpHTb o6paTHO. 
Bee BpcMa pBHraTbca Ha nojiynajibpax. 

HauHHTe b yrny KOMHaTbi. Bbicoko Ha najibpax, pyKH npOTarHBaTb, pacTarnBaiOTca no 
noTOiuca. 

HaKJiOHHTecb Tax, kbk 6ynTO nponcxonuT n anemic Ha KpOBam, KOpnyc npiiMO. Korna 
bm napacTC - HaKJiOHHTbca bhh 3 Ha Tannio, pyKH corny™ b jioktux, mrian no GonaM, 
noBepxHOCTH GojTb iH Hx nanbpeB pyK OTn&ixaiOT Ha Gcnpax. 

EbiCTpo, HcGonbuJHC, GbiCTpbie marn, BTaHyTb >khbot, nonmiiviaTb Horn napannejibHO - 
KOJieHH k >kh BOTy bo BpeMa 6era. Korna bbi nocTuracTC cnenyiomcro yrna KOMHaTbi. 
Bnpyr, BHe3anHO, nonnaTbca, npoiiTH, noBOpOT jihh,om k cnenyiomeMy yrny. 
OnycTHTbca, KaK h npeacne, noBTOpHTe Bee HCTbipe yrna KOMHaTbi. B 3 tom hbh>kchhh 
bm Bee BpeMa ocTaeTecb Ha nanbpax hot. 


51 



Start in the corner of the room. Up high on toes, arms reaching, stretched up to the 
ceiling. 

Bend over as falling onto a bed, body straight. As you fall - bend down at waist, arms 
bent at elbows, back at sides, the sides of thumbs resting on hips. 

Fast, small, quick steps, pull in stomach, lift feet parallel - knees up to stomach during 
run. As you reach the next corner of the room. 

Suddenly, raise up, come up, turn, facing the next corner, go down as before, repeat all 
four corners of the room. You never come down off the toes in this movement. 


3-12-3. nptDKOK [ The Leap ] 

HanaTb c (II) nepenHeii Bnepen, kojicho corHyro Ha3an (JI) Hora BbiTaHyra, pyicn 
npaMO Ha3an no 6oKaM. 

HanHHTe pa6oTaTi>, Teno bhh 3, ronoBa BBepx. 

Tax ace, Kaic bbi co6npaeTec& npBiraTt, Bnpyr, nonHaTb Teno, BbirayTb cnnHy, 
OAHOBpeMeHHO pyKH HanpaBHTB no 6oKaM (nano ha mm bhh3), KaK nTnpa n (IT) Hora 
TOJiKaeT BBepx n Hapyacy, Torna icaic (JI) Hora npnMan no3ann. 

KoneHO 3anHCH hoth nonacHO 6bitb npaM&iM. 

Start with (R) front forward, knee bent back (L) leg stretched out, arms straight back at 
sides. 

Start to run, body down, head up. 

Just as you are about to leap, suddenly, lift the body, arch the back, simultaneously the 
arms come up at the sides (palms down) like a bird and the (R) leg is thrust up and out 
while the (L) leg is straight behind. 

The knee of the back leg must be straight. 


3-13. Onryp&i TaHarpa [ Tanagra Figures ] 

(*) HcxoAHoe nonoaceHne: BCTaTB npaivio, Horn napannenbHO, pyicn onymema baojib 
TynoBHipa. OnHOBpeMeHHO Mennemio HaicnoHnn ronoBy Bnepen, nonnaTb npaBoe 
KOJieHO c yrnoM 90 rpanycoB, neBaa pyxa nonHHMaeTca no ypOBHa nnena, khctb 
CB oOonHO CBHcaeT bhh 3. 3aTeM OTBecTH nonnaToe kojicho BnpaBO n cnenaTb Bbinan b 
CTO pOHy Ha npaByio Hory, neBaa pytca onycKacTca bhh3 h o6e pyxn OTBonaTca Toace 
HanpaBo: neBaa pyica nepeRptmaeT rpynt, a npaBaa OTBonHTca b CTOpOHy, icaic 6ynTO 
3au[Hniaa nnn,o. BbinepacaTb no3y, noTOM BepHyTbca b ncxonHoe nonoaceHne. 
IIoBTOpHTb Toace caMoe b neByio CTOpOHy. KpOMe toto, ecTb MHoronncneHHbie 
KOM6nHan,nn npyrnx nsnaceHnn pyx. JTonHaTb npaByio pyicy HeMHoro corayTyio b 
noKTe Han ronoBon. TonoBy noBepHyrb HanpaBo, noTOM HaneBO. 


52 




CTaHbTC npaMO, Horn napajuiejibHO, h3th6 Ha3an Han (HoraMH) h CBecHTb rojiOBy 
Bnepe/i, Me/yiemio noAmiMaa (oAHOBpeMeHHo) npaBoe kojicho c yriiOM 90 rpa^ycoB. 
OAHOBpeMeHHO, noBbimeHHe jicboh pyKH Ha Bbicory njiena, pyKH onycTHTe, 3aTeM 
noBepHHTe noAmrroe kojicho k npaBOH CTOpOHe (mar), noMecTHTe Hory Ha non h, b to 
ace BpeMfl, noBbimeHHe pyKH H3 no3Hu,HH cncpcjm k BameMy Jinny cOony - Kan ecjin 6bi 
Bbl BbI3bIBaJIH KOrO-TO. 

3aTeM, no-npeacHeMy, 3 to flBHaceHHe npiiMO k npaBOH npeAbiAymen [no3H n. Hn] Bamero 
jiHpa. 

3aTeM, HToObi BCTaTb npiiMO, npOBecm neByio pyicy ot npaBOH npcnbinymcn 
[no3H TT Hn] Bamero imu,a k jicboh. 

OnycTHTb, OAHOBpeMeHHO, nepeTacKHBaa npaByio Hory h kojicho k jicboh ckjiohchhoh 
Hore b nojioaceHHe CToa. 

IIOBTOpHTe C JICBOH CTOpOHbl. KpOMe Toro, eCTb MHOrOHHCJieHHbie KOM6HHaU,HH 
ApyrHX HBHaCCHHH pyK. 

IIOAHHMHTe pyKH HSIR TOJIOBOH, HCKpHBHTe HX HSIR TOJIOBOH, nOBOpaHHBaa TOJIOBy B 
pyKH BJieBO, 3aTeM BnpaBO. 

Stand erect, feet parallel, bend back over and droop head forward slowly raising 
(simultaneously) the right knee to a ninety degree angle. 

Simultaneously, raisingt he left arm to shoulder heighth, hand drooping, then swing 
raised knee to right side (a step) and place foot on the floor and at the same time raising 


53 



the hand from in front to your face sideways - as if you were calling someone. 

Then, continue it's movement straight to the right past your face. 

Then, to come erect, pass the left hand from the right past your face to the left. 

Bring down, simultaneously, dragging the right foot and knee to the left leaning leg to a 
standing position. 

Repeat on the left side. Also, there are numerous combinations of other arm movements. 
Raise arms over the head, curve it over the head turning the head into the arm to the 
left, then to the right. 


5th FIGURE : 5 -h OHrYPA 



3-14. Jleaca CrnDKemie h FloAteM [ Lying Down and Rising ] 

(*) HcxoAHoe nono/KCHHc: BCTaTt npaivio, Horn napaaneabHO, pyKH onymcHbi baohb 
T yjiOBHin,a. C^enaTb mar neBon Horoii BnepeA, Rax 6ygTO ACJiaa mar B03Jie Kpaa 
dacceiiHa c boaoh. JleBaa pyxa TaHeTca BnepeA, KaK dyATO xoneTca copBaTb pbctok, 
B3rjiiiA HanpaBJieH bhh 3. OnycTHTtca Ha neBoe kojicho, Bee Teaa ocTaeTca Ha npaBOM 
KOJieHe. CecTb Ha3aA Ha npaBoe deApo, c neBOH Horoii BnepeAH, HeMHoro noAHHMaacb 
Ha KOJieHe. Pyxa noAHHMaeTca HaA tohoboh. MeAnemio onycKaTbca Ha npaBOH pyxe ao 
noao/KCHini aeaca Ha nony, acBaa pyi<a onycKacTca h KacaeTca npcanacHba npaBOH 
pyKH. IIojihoctbk) paccaadHTbca. JleBaa Hora BbiTariiBacTca, Teno HaxoAHTca npaMO 
noA yraoM BBepx h bhh 3. JleBaa Hora y npaBoro KOJieHa. MeAJieHHO, noAHaTB ceda c 
neBOH CTOpOHbi h BbiTaHyTb pyxy no HanpaBJieHHio k jicboh Hore h, raaAa b 3tom 
H anpaBJieHHH, noi<a He npHAeTe b nojio>KCHHC CHAa. IIotom noBepHyTtca BnepeA c 
BbiTaHyTBiMH pyKaivm - noAdopOAOK noAHHMaeTca. IIoAHaTbca Ha npaBoe kohcho raaAa 
BBepx Tax, dyATO bbi pacTCTe, HTodbi BCTpeTHTb bocxoa CoaHpa. OnycTHTt pyKH bhh 3 
nepeKpecTHTb b 3anacTbax, He Kacaacb najitpaMH noaa. Mcahchho HanaTb 
noAHHMaTBca c KoaeHa, roaoBa h pyKH em,e HaxoAaTca BHH3y h npHHTH b BepTmcaabHoe 
noao'/KCHHC. Horn npnxoAaT b napaaaeabHyio no3Hu,mo. Cmoy nepeKpemeHHbie pyKH 
noAHHMaiOTca BBepx nepeA rpyAtio, h pacKpbmaiOTca b CTOpOHbi HaA roaoBoii, KaK 
dyATO npHBeTCTBya Coamje. LLIar Ha npaByio Hory, hath HaBCTpeny CoaHuy. 


54 






H 3 nojioaceHHa Jleaca CHHaceHne h Hoabcm (b conpOBoacAeHHH 'Tpe3Bi JIio 6 bh" 

JlHCTa). 

IIpOBeAHTe jieByio Hory BnepeA, KaK 6yATO ACJiaa mar B03Jie xpaa 6acceiiHa c boaoh. 
riycTB Barna pyKa hact BnepeA, xax ecaH 6 bi bbi 6 bijih maACiiH bhh3, hto 6 bi copBaTB 
ABeTOK. Bee em,e tjwah bhh3, HaxnoHHTecb Ha aeBoe kojicho h noMecTHTe cboh Bee 
Tejia Ha npaBoe xoneHO - c Hor, BBiTHHyrbix Ha nony no3aAH. 

3aTeM, aKKypaTHO, caAbTe Ha3aA Ha npaBoe 6 eApo, c jieBOH hotoh BnepeAH, HeMHoro 
noAHHMaiicb Ha KOJieHe. 

IIoAHHMHTe pyxy b acecTe BnepeA naA Bameii tojioboh. 

MeAJieHHO, CKOJib3HTe Ha3aA Ha npaBOH pyxe, MeAJieHHO CHHacaa ce6a b nonoacemie 
jie>Ka, a acBaa pyxe cnycxaeTca hbh iii ho TyAa, rAe nanbH,bi xacaiOTca BHyTpcHHCH nacTH 
AOXTA, OKOJIO npCAnJICHBH. 

IIoiiHOCTbK) paccjia6HTbca Ha CBoeii CTOpOHe. JleBaa Hora BBiTarHBaeTca, Teno 
HaxoAHTca npAMO noA yrnoM BBepx h bhh3. JleBaa Hora y npaBoro KOJieHa. 

MeAJieHHO, noAHHTb cc6a c JieBOH CTOpOHbi h BBiTAHyTB pyxy, noxa bbi HaxoAHTecB b 
CHAnneM noao/KCHHH. 3aTeM, BbiTaHyTb JieByio pyxy no HanpaBJieHHio x JieBOH Hore h, 
rjiHAa b 3tom HanpaBJieHHH, nepeiiTH x nojiHOMy CHAaneMy nonoacemno. 

3aTeM, noBepHHTecb BnepeA c BBiTaHyTBiMH pyxaMH - noA 6 opoAOK no ahhm acTC a . 

C pyxoii BbiTaHyTOH b CTOpOHbi, noAHHMHTecb Ha npaBOM xojieHe, raaAa BBepx Tax, 
6 yATO BBI paCTCTe, HT 06 BI BCTpeTHTB BOCXOA CoJIHH,a. 

IIpOBeAHTe JieByio Hory b CBoe npaBoe xojieHO. 

OnycTHTe rojiOBy h rneio, h OTCTynHTe Ha3aA, raaAa Ha Banin pyxn, xoTOpbie aoa>xhbi 
cxpeiu,HBaTbca Ha 3anacTBax, najiBpaMH bhh 3, Ha 5 caHTHMeTpOB ot nojia. 

(He xacaiiTecB nojia). noAHHMHTecB Ha JieBOH Hore h Ha xojieHe. C tojioboh Bee eipe 
onymeHHoii bhh 3, pyxn bhh 3, 3aTeM noAHHMHTecB b BepTnxajiBHoe nonoaceHHe. 

Pyxn cxpem,HBaK)Tca Ha 3anacTBax, BBinncaTb TpaexTOpHio MeAJieHHO i icpc3 cepeAHHy 
Tejia h, xax tojibxo Tejio CTaHeT npaMO, npaBaa Hora CTaBHTca napajuiejiBHO JieBOH. 
Pyxn, cxpemeHHBie BHH3y, noAHaTb x noA 6 opOAxy memo raa3, hto 6 bi OTxpbiTB h 
paciHHpHTB HaA noAHETOH rojiOBOH, xax 6 yATO npHBCTCTBya COJIHH,e. 

3aTeM, c ocTaHOBxoii BnepeAH, CHOBa Ha npaBOH Hore, mbi hacm HaBCTpeny CojiHpy. 

Lying Down and Rising (to Liebestraum). 

Place your left foot forward as if taking a step near the edge of a pool of water. Let your 
hand come in front as if you were looking down to pick a flower. Still looking down, 


55 



bend down on the left knee and place your body weight on the right knee - with toes 
extended on the floor behind. 

Then, delicately, sit backwards on your right hip with the left foot in front, slightly 
raised up by the knee. 

Raise your arm up in a gesture forward over your head. 

Slowly, slide back on your right hand, slowly lowering yourself to a lying position and 
the left arm comes down gracefully to where the fingers touch the inside of the elbow 
near the forearm. 

Completely relax on your side. The left leg is extended, the body is at a straight up and 
down angle. The left foot into the right knee. 

Slowly, raise yourself up with your left hand and extend arm until you are in a sitting 
position. Then, extend the left arm over the left leg and looking in that direction, come to 
a full sitting position. 

Then, turn forward with your arms outstretched - chin lifted. 

With arm extended out to sides, raise up on the right knee, looking up as if you were 
rising to meet the morning Sun. 

Draw the left leg into your right knee. 

Lower your head and neck and back down looking at your arms to a crossing at the 
wrists, fingers down a couple of inches from the floor. 

(Do not touch the floor). Raise up on the left foot and knee. With head still down, arms 
down, then raise up to an erect position. 

The hands crossed at the wrists, drawing up slowly through the middle of the body and 
as the body comes erect, the right foot is parallel with the left. 

The hands crossed under, raise to the chin up past the eyes to open and extend over the 
raised head as if greeting the Sun. 

Then, with a stop forward, again on the right foot, we go to greet the Sun. 


3-15. ^BH/KCHMfl pyx n Ynpa>K Hernia a™ nanbucB [ Arm Movements and Finger 
Exercises ] 

FloKanHBarore pyxaMH (no a 3-h KOHpepT am (JtopTennaHO EeTxoBeHa) 

PacKHHyB pyxn HaA ronoBon, pacKaHHBaTbca BMecTe - H3 CTOpOHbi b CTOpOHy - HaA 
ronoBOH. CBeAHTe sanacTba BMecTe n pacKannBanTe BHyrpb n Hapyacy Ha sanacTbax. 
,3,BH)KeHH5i pyx npc acT a biihot h3 cc6h ecTecTBeHHoe tchchhc Hapyacy ot Tena. 
AnceAOpa odHapyacnna 3 th ABnaceHna, HadmoAaa 3a BeTBaMH AepesbeB n BOimaMH, 3a 
KpblJIbilMH nmn,. 

Pyxn H3o6pa>KaK)T 3mou,hh HcaoBCKa. CTaHbTe npaivio, pyxn bhh3 no 6oxaM, jiokth 
cnerKa onnpaiOTCii Ha 6eApa. 

Swaying of Arms (to Beethoven's 3rd Piano Concerto). 

Arms outstretched overhead, sway together -side to side- overhead. Bring wrists 
together and sway in and out at the wrists. 

T he arm movements are the natural flowing outward from the body. 

Isadora discovered these movements by watching the branches of trees and the waves, 
the wings of birds. 


56 



The arms portray the emotions of the human being, stand erect, hands down at sides, 
elbows slightly resting on the hips. 

(*) HcxoAHoe noiiO/KCHHc: BcTaTt npaivio, pyxn BHH3y no 6oKaM, jiokth caerxa 
onnpaiOTca Ha 6capa. n pa Baa pyxa mchjichho noAHHMacTca ncpc3 u,CHTp Teaa 
(no3BOHOHHHK) k cojiHenHOMy cnjieTeHHio. riocTeneHHO noAHHMaeTca rpyAfc, 
no^6opOAOK, jia^OHB npoxoAHT mhmo raa3, a6a, pyica TXHeTca BBepx n OTxpbiBaeTca 
Ha^ rojiOBOH BBepx b CTOpOHy. Mchjichho onycxaeTca ncpc3 CTOpOHy. Koraa pyxa 
noAHHMaeTca BBepx aaaoHb pacKpbiTa Hapyacy, a xoraa pyxa onycxaeTca bhh3 aaaoHb 
noBopaHHBacTca bhh3 k 3eMJie. Kax tojibko npaBaa pyica onycTHJiacb, hbh>kchhc 
noBTOpaeTca aeBofi pyxofi. IIotom ABHaceHHe BbinoaHaeTca AsyMa pyicaMH, cxpecTHB 
aaAOHH b 3anacTbax BHH3y ncpca tciiom. Koraa o6e pyico pacKpoiOTca i icpc3 CTOpOHbi 
AO ypOBHa naea, aaAOHH pacKpbiTbi Hapyacy BBepx. CaeaaTb KHCTaMH abh>kchhc BBepx 
h pa3BepHyTB aaAOHH bhh3 k 3eiviac, abh/KChhc pyx noxo>KC Ha abh>kchhc bohhbi. H 
OnyCTHTB pyKH BHH3. 

,H,OBeAHTe npaByio pyxy MeaaeHHO k peHTpy Teaa. He noAHHMaiiTe H3 HHacHero 
noaoacemia. noBepHHTe pyxy Tax, aaaoHbio x npaBOH CTOpOHe. 
ronoBa onyipeHa, MeaaeHHO noAHHMHTe pyxy BBepx, mhmo coaHeaHoro cnaeTemia. 
HanHHTe noAHHMaTB Teao. nocTeneHHO, rpyat no AHHMaeTca, noaSopoaox BBepx, 
aaaoHb npoxoAHT raa3a, noxa, nponaa ao6, pyxa TaHeTca BBepx h OTxpbiBaeTca Haa 
rojiOBOH, h Haa roaoBOH OTxpbiBaeTca b CTOpOHy. 

MeaaeHHO, pyxa onycxaeTca b CTOpOHy. KorAa pyxa TaHeTca b CTOpOHy, Ha BbicoTy 
naeaa, aaaoHb (b aaHHbiH momcht HanpaBacHHaa BBepx) noBopaHHBacTca x anny bhh3. 
3to abh'/KChhc ripoAoa>KacTca bhh3 h (He ocTaHaBatiBaacb), noxa pyxa noxoHTca b 
CTOpOHe, o6paTHoii CTOpOHOH, CAeaaTb aeBoii pyxoii. 
nocTaBHTB o6e pyxH, cxpecTHB aaAOHH Ha 3anacTbax b peHTpe Teaa. 

TorAa xax o6e pyxn BbiTarHBaiOTca b CTOpOHbi ot naea, crH6aTb naabH,i>i npaMO Tax, 
HTo6bi najH>H,bi h aaAOHH o6pa30BaaH npaMyio aHHHio. - He xpHByio hhh b bhac 
"xpioaxa". 

"BoaHHCTbie pyxH". "flyabcaHHa i icpe3" Bepx ao hh>khch pyxn, ao pyxn ot naen b 
xpyroBOM ABHaceHHH. 

Bring the right hand slowly to the center of the body. Do not raise from lowered 
position. Turn the arm so the palm faces out to the right side. 

The head lowered, slowly raise the hand up past the solar plexus. Start raising the body. 
Gradually, the chest comes up, the chin up, the palm passes the eyes until, after passing 
the forehead, the hand stretches upward and opens out over the head and overhead- 
opens to the side. 

Slowly, the arm descends to the side. As the arm reaches the side, shoulder heighth, the 
palm (now facing up) reverses and turns to face downward. 

This movement continues down and (never stopping) until the arm rests at the side, 
reverse sides, do left arm. 

Do both arms crossing palms at wrists at cen ter of the body. 

Then, as the arms are both stretched out to the sides from the shoulders, flex the fingers 
out straight so that the fingers and palms form a straight line.- not a curve or a 'claw' 
look. 


57 



'Undulate' the arms. 'Ripple through' the upper to lower arms to the hands from the 
shoulders in a rounded motion. 


D.A.McComb (1979) 

llepeeod: A.nanoe. 


• 0. CnPABKA == REFERENCE • 

Eappe ynpaacHCHiia [Barre Exercises] 
http://en.wikipedia.org/wiki/Barre_(ballet) 

Eappe ((])paHuy3CKHH asbiK) - CTapHOHapHbiM nopyncHb, KOTOpbiii odecncHHBacT 
no^flepacKy bo BpcMa pa3JiHHHbix thiiob ynpaacHeHHH. 

A barre (French) is a stationary handrail that provides support for people during various 
types of exercise. Barres are used extensively in ballet training and warm up exercises, 
where such exercises are commonly referred to as barre work. In a ballet class, barre 
may also refer to the part of the class that involves barre work. 

Dancing Maenad (TaHnyiomaa MeHaaa) 

http://ancientrome.ru/art/artworken/img.htm?id=2040 

Dancing maenad. Berlin, State Museums (Staatliche Museen zu Berlin) 

Maenad — 1. A Bacchante; a priestess or votary of Bacchus, traditionally associated 
with frenzied rites. 2. A frantic or frenzied woman. 
https://rn.wikipedia.org/wiki/BaKxaHKH 

MeHa^bi (Ap.-rpeu. "6e3yMCTByK)iu,He", "HeHCTOBCTBytoigHe") — b ApesHerpeuecKOH 
MH^onorHH cnyTHHu,bi h noHHTaTenbHHH,bi /JnoHHca. Flo ero hmchh y phmjihh — Banx, 
ohh Ha3biBajiHCb BaKxaHKaMH, TaioKe daccapnaaMH — no ormoiviy H3 3nHTeTOB 
/(noHHca — "Eaccapeii" (cm. TaKace Eaccapa), (fma^aMH, MHMajuiOHaMH. MeHa^bi 
pacTep3anH nereH^apHoro Opcjiea. MeHa^a - B36emeHHaa, pa3bapeHHaa aceHigHHa. 
http://godsbay.ru/antique/maenads.html 

MeHa^bi, hto b nepeBOAe 03HauaeT 6e3yMCTByioiu,He, ohh ace - BaKxaHKH, deccapHAbi - 
nepcoHaacH ApeBHerpeuecKOH MH(f)OJiorHH. MeHaA H3o6paacajiH nojiyodHaaceHHbiMH, 
HHoraa odjiaueHHbiMH b niKypy naTHHCToro oaeHa, noAnoacaHHyio 3aq,ymeHHbiMH 
3MeaMH. McHaabi, yKpameHHbie b hho rpaa h bi m h ji h ct t>a m h h njironoM, Bceraa 
cneflOBajiH 3a /Jhohhcom. Ohh ydHBajin ahkhx acHBOTHbix h nnim hx KpOBb. TnpcaMH 
ohh coKpymajiH Bee Ha CBoeM nyra, BbidnBajiH H3 CKan mojioko h Men. Bacro acepTBaMH 
BaKxaHOK CTaHOBHJiHCb cjiyuaHHbie MyacuHHbi, KOTOpbix HCTaaajiH, noABeprajm 
ceKcyajibHOMy HacnjiHio h ydHBajin. "dfcHuiMH, BCTpeuaBmHxea hm no nyra, MCHaabi 
CTpeMHJincb yBJieub 3a codoir h npHod in uTb k cbhtc noHnca. IlepBoe AomeAinee ao 
Hac ynoMHHaHHe o MCHauax BCTpeuaeTca b TpareAHH EBpraiHAa "BaKxaHKH". 

TaHarpCKHe CTaTysTKH (IIenjio(])opbi) 
http://rn.slovari.yandex.ua/article.xml7book 

nEnJIOOOPEI (rpeu. peplophoroi — "Hecymne nenaoc"; cm. nernioc) — 
(«TaHu,OBHi,HH,bi» hjih AaHauAbi) b aHTHHHOM HCKyccTBe mn CTaTy3T0K H3 MpaMOpa, 
6pOH3bi hjih TeppaKOTbi (cm. TaHarpcicaa KOponaacTHKa), npeACTaBJiaiomHx co6oh 
aceHCKne (Jmrypbi b ajihhhbix oachhhhx c h h c n a a a fo uj h m h CKJiaAKaMH — nennocax. 


58 



B Ap xeono r hh cc k o m My3ee Heanojia xpaHaTca naxb 6poH30Bbix (jmryp b oarmaKOBbix 
oaearoiax, OTJiH i iaK)LUHxca Bbipa3HTejibHbiMH aBH>KCHHaMH pyK. rjia3a 
HHKpyCTHpOBaHbl HBCTHblMH KaMHaMH. 

[flHaeicc.CjiOBapH > CnoBapb H3o6pa3HTejibHoro HCKyccTBa, 2004-2009] 

TaHu,OBm,HLi,a Ahtohho KaHOBa. MpaMOp. 1812 roa. 
http://spbstarosti.rn/headline/tanco vshhica-antonio-kanova.html 
http://i901 .photobucket.com/albums/ac215/spbstarosti/headline/canova0011 .jpg 
Ahtohho KaHOBa (1757 - 1822): «Hmcji cmchoctb He KonHpOBaTb rpeKOB, a noaodHO 
hm H3o6peTaji KpacoTy» 


• CJIOBAPb == DICTIONARY • 


attitudes - no3bi 
barre - CTaHOK 
dance - TaHeu, 
dancing - njiacica 
exercise - ynpaacHeHHe 
floor - non, 3an 
gestures - acecTbi 
tight - nononceHHe 

down - BHH3 
up -BBepx 

drawn up - noaTaHyrb, BbinpaMJiaTb 
upward throw - BoexoaamHH dpocox 

ankle - noatiaocH, ih,hkojiotkh, roneHOCTon 

arms - pyior (ot nneua) 

back - cnHHa 

body - Teno 

chest - rpyab 

elbow - noKOTb 

fingertips - kohhhkh najibpeB 

feet - CTonbi 

foot - CTyrma 

hand - khctb, naaoHb (ot noKTa ao najibpeB) 

hands - khcth pyx, naaoHH 

hip - 6eapo, Ta3o6eapeHHbiH 

hip heighth - Ha BbicoTe 6eapa 

hip thrusts - Ta3o6eapcHHaa oceBaa Harpy3i<a 

heel - naTKa, Kadjiyx 

heels together - naTKH BMecTe 

head -ronoBa 

leg - Hora 

lower leg - roneHb 

muscles - Mbimpbi 

neck - mea 


59 



palms - jia/iOHH 

pelvic - Ta3 

seat - 3aAHaa nacTb 

shoulder - rnieuo 

sole - noAoniBa 

stomach in - >khbot BTHHyr 

stomach muscles - mbt tttttb t acuBOTa 

thumbs - donbumc najibpbi pyKH 

toes - najibpbi Hor (hockh) 

waist - noac 

wrist - 3anacTbe 

arch - H3orHyTbca ayroii 
bends - H3rn6bi 

bend over - HaKJiOHHTBca BncpcA 

bob - noACKOK 

break - nay3a 

bring - cbccth, Becm 

closes - npudiiH/KacTca 

crossing - CKpein,HBaHHe 

draw - AcaaTb, npoBOAHTb 

drawing up - BbinueaTb TpaeKTOpuio 

extend - BbiTaHVTb 

extended - BbiTaHyrbiH 

gliding - CKoab/KCHHC 

inclining - HaKJiOHaa 

instep - noAteM 

jump - npbDKOK 

jumping - nonpbirHBaHne 

flex - crndaTb 

flicks - mejiuKH, pe3Kue ABHaceHHa 

flic-flac - (j)nHK-<JmaK, npbiacoK Ha3aA c Asyx Hor 

hold - Acp>KaTb 

hop - CKauoK 

hop up - 3anpbirHyTb 

hopping - BnpnnpbiacKy 

kick - tojihok, Bbidpoe Horn, yAap Horon 

kneeling - nonoaceHne Ha KOJieHe 

lead - BecTH 

lean - HaKJiOH 

lifts - noAteMbi 

loosely - cbo6oaho 

lowered - onymcHa, onycKacTca 

point - yKa3aTb 

places - pa3Menj,aeTca 

pull - TflHyTb 

pUt - nOMeCTHTB, AOdaBHTb 


60 



reaching - npoTHrimaTb 
reclining - HaKJiOH 
rest - ynop 

rests - onnpaeTca, noxonTca 
rise - noAHHMaTbca 
rising - no^teM 
run - npodenoca 
mnning - 6er 

running steps - deroBbie rnarn 
skip - CKOK 

skipping - noflCKOK, nocKOK 

slide - CKontaceHne 

spin - Bpamemre 

stand erect - BCTaTB npaMO 

stoop - Harudamie 

stretch - pacTancica 

stretched - pacTaniBacTca 

sway - pacKauHBaHne, pa3MaxnBaHne 

swaying - xanaiomeeca 

swings - Maxn 

swingstep - MaxoBbin mar 

backswing - 3aMax Ha3a,g 

swung - noBepHyra 

taken - BbinoimaeTca 

throw - dpocoK, nepeHoe 

thrown - OTdpomeH 

thrust - oceBaa Harpy3Ka 

thrust the body - tojihok Tena 

twirling - Kpyacemre 

vary - BapbnpOBaTb 

walking - xo,gb6a 

1 AK)HM - 2.54 CM, CaHTHMeTpOB 

1 apA -91.44 cm 

in front of the body - nepe,g codon 

mounting - Bbicmne, bbicotm, B03BbmieHna 

steady practice - perynapHaa npaxTHKa 

steps in place - marn Ha MecTe 

still - Bee em,e 

suddenly - BApyr, BHe3anHO 

TRANSLATE 

"mounting circles" - Bbicmne c<f>epbi (??) 

"hand and arms" - khcth pyx n pyxn (??) 

arm and hand - pyxa n KHCTb 


61 



• JIHTEPATYPA = LITERATURE • 


CIIHCOK JIHTEPATYPBI 

TexHHKa TaHpa Aiicepopbi /JyHKam Y h e 6 h o - m c t o p n h e c k o c nocodne b 6-th TOMax / 
Ahcepopa /JyHicaH; HpMa /JyHicaH; ,3,. A. Maic-KoM6 nocjie JlHJiHaH Po3eH6epr; Ilep. c 
aHTJi. A. A. IlaHOB; nop pep. h c npepHCJi. O. B. Tpyjib. - CaHKT-IIeTep6ypr : H3p. 
"Rjiaccmca-MopepH" KyjibTypHbiii U,eHTp Hhctbix HcicyccTB hmchh Aiicepopbi /lymcaH 
[/JymcaH-IJeHTp], 2016. 

1. HcxyccTBO TaHpa / Ahcepopa /JyHicaH; Ilep. c aHTJi. A. IlaHOB; npepncp. O. Tpyjib. - 
CII6.: H3p. /JymcaH-IJyHTp, 2016. 

AScepopa /lymcaH. HcicyccTBO TaHpa. PbOpaHHoe; Bbipepncioi H3 khhth. Ilep. c aHTJi. 

A. IlaHOB; npepHCJi. O. Tpyjib. - CamcT-neTepdypr : H3p. "Kpaccmca-MopepH" 
KyjibTypHbiH U,eHTp Hhctbix HcKyccTB hmchh Aiicepopbi /lymcaH [/lymcaH-I/eHTp], 
2016. 

2. TexHHKa Aiicepopbi /JyHicaH / HpMa /JyHicaH; C hjiji. Ooto XaHC EpnceKC. no3bi ot 
Aiicepopbi, HpMbi h ppyrnx yueHHp /lyHicaH. npepncp. M. O. Po6epTc; nep. c aHTJi. A. 
naHOB; Pep. O. Tpyjib. - Cn6.: H3p. /JymcaH-I/eHTp, 2016. 

TexHHKa Aiicepopbi /JyHicaH ot HpMbi /lymcaH. lUpaTCJibCTBO KaMHH, Hbio-Hopic, 

1937. MeTopmca Aiicepopbi /lymcaH icaic yHHT HPMA /IYHKAH. C HPmocTpapmiMH. 
OoTorpa(j)HH XaHC EpnceKC. no3bi ot Aiicepopbi, HpMbi h ppyrnx yueHHp /lymcaH. 
OTnenaTaHO TmiorpaijiHeii Kapji nHJiJiep b Abctphh, BeHa VIII. 

TexHHKa Aiicepopbi /JyHicaH / HpMa /lymcaH; C hjiji. Ooto XaHC EpnceKC. no3bi ot 
Aiicepopbi, HpMbi h ppyrnx yueHHp /lyHKam npepHCP. M. O. PodepTc; nep. c aHTJi. A. 
naHOB; Pep. O. Tpyjib. - Cn6.: H3p. /lyHKamlleHTp, 2016. 

3. TexHHKa yuedHbix 3amrraii [MeTopHKa odyueHHa] b IIlKOJie TaHpa Aiicepopbi 
,II,yHKaH; ot //.A.Maic-KoMd [1979], nocjie JlnjinaH Po3eH6epr (1930-e), HpMbi /lyHicaH 
(1900-e) h Aiicepopbi /lymcaH (1877); OoTOKOJuiancn Comi 3aHKHHa. nep. c aHTJi. h 
npepncji. A. naHOB; nop pep. O. Tpyjib. - Cn6.: H3p. /lymcamlleHTp, 2016. 


LIST OF RESOURCES 

The Technique of Isadora Duncan Dance. Dance Tutorial in 6 volumes / Isadora 
Duncan; Irma Duncan; D. A. McComb after Lillian Rosenberg, 2016. 

1. The Art of the Dance. Isadora Duncan / pref. par Sheldon Cheney.- New-York : 
Theater Arts, 1928.- 147 p. Edited, with an introduction by Sheldon Cheney. 

ISBN 0-87830-005-8, ISBN-10: 0878300058, ISBN-13: 978-0878300051 

2. The Technique of Isadora Duncan By Irma Duncan. Illustrated. Photographs by Hans 
V. Briesex. Posed by Isadora, Irma and the duncan pupils. Printed in Austria by Karl 


62 



Piller, Wien VIII, 1937. - Printed in St. Petersburg, Russia by [http://idvm.chat.ru 
DUNCAN Center], 2016. 

Irma Duncan. The Technique of Isadora Duncan By Irma Duncan. The Technique of 
ISADORA DUNCAN as Taught by IRMA DUNCAN. Illustrated. Kamin Publishers. 
New York. 1937. 

3. The Classroom Technique Of The School Of Isadora Duncan Dancing by 
D.A.McComb [1979], after Lillian Rosenberg (1930’s), Irma Duncan (1900's) and 
Isadora Duncan (1877). - Printed in St. Petersburg, Russia by [http://idvm.chat.rn 
DUNCAN Center], 2016. 


JIHTEPATYPA OB AHCHflOPE flYHKAH: 

Aiiceaopa /JymcaH: Eeeeaa c A.JI. Bohbihckhm / H.r. Mojioctbob. - CaHKT-IIeTep6ypr: 
Tuno-nuT. "lieu. ncKyccTBo", 1908. - 15 c. ; 22 cm. 

1. IIcHxonaTBi, "CaHHHpBi" n /lymcaH b CTuxax. 2. npoaaacHaa neuara u "EoeoHOHcica" 
HBaHa OTKpOBeHHoro. - Oaeeea : ran. n jiht. M. IIpHiuenoBa, 1908. - 17 c., bkji. o6ji. ; 
24 cm. 

Aiiceaopa /JyHKaH / IlnTep KypT ; [nep. c aHru. C.JIoceBa], - MocKBa : Dkcmo, 2007. - 
767 c., [16] ji. hji., nopTp. ; 21 cm. - (TKeHiuHHa-dorHHa). 

EceHHH n Aiiceaopa /lymcaH / [coct.: T.H. MapmKOBa], - MocKBa : AaropHTM, 2007. - 
285, [2] c. ; 21 cm. - (JIio6oBHi>ie ncTOpnn BennKHx). 

EceHHH 6e3 /lymcaH, hjih Odparaaa CTOpOHa comma / HHHa MoaeBa. - MocKBa : 
OjiHMn: AcTpent, 2010. - 317, [2] c. ; 21 cm. - (Cepna "KyMHpti. Hctophh Bcjihkoh 
JIio6bh"). 

EceHHH. /JyHKaH = Esenin. Dunlcan. BoenoMHHamia / BCTyn. ct. JIbBa AHHHHCKoro]. - 
MocKBa : IIP03AhK, 2011. - 685, [2] e. : hji., nopTp. ; 21 cm. 

CoaepHcamie: Moa hch3hb / Aiiceaopa ^ymcaH. PyecKHe ami Aiiceaopbi /JymcaH h ee 
nocaeaHHe roabi / HpMa /JyHKaH, AruiaH Poee Maicayraaa. BcTpeuH e EcemuibiM / 
Hjiba LUHeiiucp. 

COBHHEHHR: 

TaHeu dyuymero / Aiiceuopa /lyuncaH; Ilep. e hcm. noq pea- R- Mau,KeBHua. ... Moa 
acH3Hb / IlepeBoa R. RKOBaeBa; [BcTyn. ct. A- TopdoBa], - CII6. : OnpMa "Hhutkc", 
1992. 

http://www.istmira.com/razliehnoe/tanee-budushhego-moya-zhizn/ 

TaHeu, dyuyiqero. JleKuna / Aiiceuopa /JymcaH; Ilep. H. OnabKOBa; Iloa pea. u e 
npeuHca. HHKoaaa CycaoBa. - MocKBa : Tnno-aHT. K.H. BepOKOBoii, 1907. - [2], VIII, 
16 c., 2 a. Ha.; 24 cm. 

TaHeu, dyuyiqero / Aiiceaopa /lyracaH; Ilep. e HeM. noa pea- R. MapKeBnua. - MocKBa: 
3apa, [1908], - 31 c.; 17 cm. 

Moa >KH3Hb / IlepeBoa R- RxoBaeBa; [BcTyn. ct. A- TopdoBa], - Clld.: OnpMa 
"Hhuokc", 1992. - XI, 286 e. : hh. ; 20 cm. PenpHHraoe H3aaHHe. Bbixoaubie qaHHbie 
opHTHHaaa: M.: Oeuepauna: ApTeab mieaTeaeii "Kpyr", 1930. 


63 



http ://az. lib .ru/ d/ dunkan_a/ text_0020. shtml 

Moa acH3Ht. MeMyapti. TaHeu, dyAymero. [IlepeBOA / Coct. h aBT. nocaeca. H.5I. 
PoMaHOBCKHH ; PeA- H. 51. Baicc]. - M.: "KoHTpaKT-MMT" cobmcct. coB.-niBeMu,. 
npeAnpnaTHa "MocpeHT", 1992. - 191 c., [16] ji. Ha.; 22 cm. 

Moa >kh3hi>. Moa Poccna. Moil Ecchhh. BocnoMHHaHHa / Ilep. c aHra. [H. KpacHOBa h 
A p.]. - M. : rioaHTH3AaT, 1992. - 398 c., [8] a. Ha.: Ha.; 21 cm. B KHHre Taicace: 
HepaccKa3aHHaa HCTOpna / MspH flecra. 

Moa 5KH3HB / A. flymcaH. BcTpeun c Ecchhhbim / H. IllHeHAep. - M. : HH(])opM.-H3A. 
AOm "Elpo(f)H3AaT", E. r. (1997). - 4 c., [8] a. Ha.; 22 cm. - (CepHa "IIpeKpacHaa AaMa"). 
Moa HCH3H&. [ABTodHorp.] / AnceAOpa /JyHKaH ; [Elep. c aHra. H. KpacHOBa, 51. 
5lKOBaeBa], HepaccKa3aHHaa HCTOpna: [BocnoMHHaHHa] / Mspn JJccth ; [Elep. c aHra. 

3. PaxaHHon], - M.: TEPPA-Khhhchbih KJiyd, 1999. - 462, [1] c. ; 21 cm. - (H36 paHHHu,bi 
cyAbd&i). 

Moa HCH3HB / AnceAOpa flymcaH; [nep. c aHra. H. 3. EaaoA]. - MocKBa : 
E[eHTpnoaHrpa(f), 2005. - 350,[1] c.,[4] a. Ha. : nopTp. ; 21 cm. 

Moa HCH3HB. Moa jhoOobb / AiiceAOpa flyHKaH. - MocKBa: Geleos, 2006 (PbiOhhck : 
Pbi6hhckhh ,I[om neaaTH). - 347,[1] c.; 21 cm. 

Moa >KH3HB / AnceAOpa flymcaH; [nep. c aHra.: H. 3. EaaoA]. - MocKBa : 
E[eHTpnoaHrpa(|), 2009. - 350, [1] c.,[4] a. na. : nopTp. ; 21 cm. 

Moa HcnoBeAB. - Mhhck: YHiBepciT3H,Kae, 1994. - 222 c. ; 21 cm. 20000 3K3. 

Moa HcnoBeAB. [ElepeBOA]. - [PenpHHT. BOcnpOH3BeA£HHe H3A. 1928 r.]. - M. : OnpMa 
"Kh. aom", 1990. - 266 c., [2] a. Ha. ; 22 cm. - (CepHa "ApxHB"). Bbixoahbic AaHHbie 
opHrHHaaa: Pnra: KHHra aaa Bcex. 

^BHaceHHe - >KH3Hb / H3aAOpa AyoraH. - M.: IllKoaa flyHKaH, 1921. - 7 c. AnceAOpa 
flymcaH / KoraH II.C. 

,Z]yHKaH A. 3,bh/KChhc — >KH3Hb// H3aAOpa /],yHKaH.M. : H3a. IllKoabi AyoraH, 1921. 


WORKS BY ISADORA 

Dionysion, published by The Committee for the Furtherance of Isadora Duncan's Work 
in America, copyright Isadora Duncan, 1915. 

Duncan, I. (1970) The Dance Technique of Isadora Duncan, New York: Dance 
Horizons. 

Duncan, Isadora. The Dance of the Future. Introduction by Karl Federn. Leipzig: Eugen 
Diederichs, 1903. 

Duncan, Isadora: The dance of the future. In: Copeland, Roger and Marshall Cohen: 
What is dance? Readings in theory and criticism. Oxford, New York, Toronto 1983, S. 
262-264. 

Duncan, I. (1983) ‘The Dance of the Future’ in R. Copland and M. Cohen (eds) What is 
Dance?, Oxford: Oxford University Press. 

Duncan, I. (1955) My Life, New York: Liveright Publishing. 

Duncan, Isadora. My Life. New York: Boni and Liveright, 1927; Garden City, NY: 
Garden City Publishing Company, 1927. 0-87140-158-4. 

Duncan, Isadora. My Life. The Restored Edition. Introduction by Joan Acocella, 
Prefatory Essay by Doree Duncan. New York: Liveright Publishing Corporation, 2013. 
ISBN 978-0-87140-318-6 (pbk). 


64 



Duncan, Isadora: My life. New York 1995. 

Duncan, Isadora: The art of the dance. New York 1928 

Duncan, Isadora. The Art of the Dance. Edited by Sheldon Cheney. New York: Theater 
Arts, 1969. ISBN 0-87830-005-8 

Isadora Duncan, The Art of the Dance (New York: Theatre. Arts, 1928), p. 77. 

Isadora Duncan, The Art of the Dance [1928], New York, Theater Arts Inc., 1970, p. 
147. 

The art of the dance : Isadora Duncan / pref. par Sheldon Cheney.- New-York : Theater 
Arts, 1928.- 147 p. 

Duncan, Isadora: I see America dancing. In: Copeland, Roger and Marshall Cohen: 

What is dance? Readings in theory and criticism. Oxford, New York, Toronto 1983, S. 
264-265. 

Duncan, Isadora: A child dancing. In: The dancing times. London. Aug. 1925, S. 1146- 
1147. 

Duncan, Isadora: An essay. In: Dance news. New York. Nov. 1957, S. 7. 

Duncan, Isadora: Dancing, in the relation to religion and love. In: Theatre arts. New 
York. Aug. 1927. S. 584-585 

Duncan, Isadora: Richard Wagner. In: Copeland, Roger and Marshall Cohen: What is 
dance? Readings in theory and criticism. Oxford, New York, Toronto 1983, S. 266. 
Duncan, Isadora: The dance in relation to tragedy. In: Theatre arts. New York. Okt. 
1927, S. 755-761 

Duncan, Isadora: The dance. In: Theatre arts. New York. Dez. 1917. S. 20-22. 

Duncan, Isadora: The Dance. New York 1909. 

Duncan, Isadora: What love means to different men. (In: Seldes, George: What love 
meant to Isadora Duncan.) In: The Mentor. Springfield, Vol. 18, Nr. 1, Feb. 1930, S. 26- 
27, 64. 

Duncan, Isadora. Isadora Speaks: Writings & Speeches of Isadora Duncan. Edited and 
introduced by Franklin Rosemont. San Francisco: City Lights Books, 1981. 

Mary Desti, The Untold Story: The Life of Isadora Duncan, 1921-1927 (1929). 

Ilya Schneider, Isadora Duncan: The Russian Years (1969). 

Allan Ross Macdougall, Isadora: A Revolutionary in Art and Love (1960). 

Walter Terry, Isadora Duncan: Her Life, Her Art, Her Legacy (1964). 

Duncan, Irma. The technique of Isadora Duncan. Dance Horizons. (1937) ISBN 0- 
87127-028-5; 

Duncan, I. (1937) The technique of Isadora Duncan. Dance Horizons. ISBN 0-87127- 
028-5; 

http://en.wikipedia.Org/wiki/Special:BookSources/0871270285 


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"TEXHHKA TAHIJA AHCE^OPbl ^YHKAH" 

’’THE TECHNIQUE OF ISADORA DUNCAN DANCING” 

TexHUKa manua Aucedopu flyman (2016) 

{ynedno-MemodunecKoe nocooue e 6-mu moMax} 

"The Technique of Isadora Duncan Dance" 

{Dance Tutorial in 6 volumes} 

http://idvm.chat.rU/texts/bibe/duncan-technique.htm#begin 
CO/)EP)KAHHE [TOM] 

1 . H36paHHoe H3 HcicyccTBO TaHpa ot AirceAOpBi /tymcaH. 

2. TexHUKa Aiiccaopbi /(yHKaH ot HpMbi /lyHKaH. 

3. TexHUKa yuedHbix 3amiTHH b Hhcojie TaHpa AnccAopbi /(yHicaH ot JIunuaH 
Po3eH6epr. 

4. CucTeMa My3biKajibHoe ABuaceHue (My3,Z],BHaceHHe) ot CTe(])aHHAbi PyAHeBoir 
(Poccua) [B03pacT ot 3 ao 10 JieT], 

5. CucHHHCCKaa rniacTHica ot T.C.HhK onac h ko- 14pe6pa>KCHCi<aa (CaHKT-IIeTepdypr). 

6. rapMOHuuecKaa xopeorpafjjua u rAPMOHHHECKHH KAHOH b TaHpe. 

CONTENTS [VOLUME] 

1. Extract from The Art of the Dance By Isadora Duncan (1928). 

2. The Technique of Isadora Duncan By Irma Duncan (1937). 

3. The Classroom Technique Of The School Of Isadora Duncan Dancing By Lillian 
Rosenberg (1979). 

4. Music Motion System (MusMotion) By Stephanida Rudneva (Russia) [age from 3 
before 10 years]. 

5. Scenic Plastic Arts By T.S.Nikolaenko-Prebrazhenskaya (St. Petersburg). 

6. The Harmonic Choreography and HARMONIC CANON in dance. 

* * * 

TOM 1. 

H36paHHoe H3 HcicyccTBO TaHpa ot AHcepopbi flyHKaH (1928). 

Extract from The Art of the Dance By Isadora Duncan. 
http://idvm.chat.rU/texts/bibe/duncan-art-of-dance.htm#begin 
KAKHM flOJDKEH ELITb TAHEH,' WHAT DANCING SHOULD BE (1906) 
PEEEHOK TAHH,YK)LL],HH ' A CHILD DANCING (1906) 

MOJIO/)E)K H TAHEH, ' YOUTH AND THE DANCE 
KPACOTA H ynPATCHEHHE ' BEAUTY AND EXERCISE 
OEPA30BAHHE H TAHEH, ' EDUCATION AND THE DANCE 
nHCEMO K YHEHHE[AM ' A LETTER TO THE PUPIL S (1919) 

PHXAP£ BATHEP ' RICHARD WAGNER (1921) 


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TOM 2. 


TexHHKa Anccaopbi /(ymcaH ot HpMti /JymcaH (1937). 

The Technique of Isadora Duncan By Irma Duncan. 

http://idvm.chat.rU/texts/bibe/duncan-irma-technique.htm#begin 

BBe^eHHe ot Mopn OatrroH PodepTC ' Foreword by Mary Fanton Roberts 

BBe^eHHe ot aBTOpa ' Author's Introduction 

YpoK N° I • XORbbA ' Lesson No. I • WALKING 

YpoK Ns II • BET ' Lesson No. II • RUNNING 

ypoK No III • nO^CKOK ' Lesson No. Ill • SKIPPING 

ypoK No IV • MAXOBBIH UIAr ' Lesson No. IV • SWINGSTEP 

ypoK No V • nPBmOK ' Lesson No. V • JUMPING 

ypoK No VI • NBHTLEHIDI pyu ' Lesson No. VI • ARM MOVEMENTS 

ypoK No VII • JIE7KA CHMEHHE H nOflLEM ' Lesson No. VII • LYING DOWN 

AND RISING 

ypoK No VIII • TAHArPA OHrYPBI ' Lesson No. VIII * TANAGRA FIGURES 

ypoK No IX • BAJIBC ' Lesson No. IX • THE WALTZ 

ypoK No X • KPMEHHE ' Lesson No. X • TWIRLING 

ypoK No XI • nOJIBKA ' Lesson No. XI • THE POLKA 

ypoK No XII • THMHACTHKA ' Lesson No. XII • GYMNASTICS 

OcHOBHBie npaBHJia ' General Rules 

TOM 3. 

TexHHKa yuedHBix 3amiTHH b IIlKOJie TaHqa Aiiccaopbi /(ymcaH ot JlmmaH Po3eH6epr 
(1979). 

The Classroom Technique Of The School Of Isadora Duncan Dancing By Lillian 
Rosenberg. 

http://idvm.chat.rU/texts/bibe/rosenberg.htm#begin 
0. BBE/JEHHE [ INTRODUCTION ] 

1. CTAHOK [ BARRE ] 

2. THMHACTHKA [ GYMNASIUM ] 

3. TAHEH, [ MOVEMENTS ] 

TOM 4. 

CncTeMa My3biKam>Hoe aBH/KCHoe (My3/lBH>KCHHc) ot CTC(])aHHabi PyaHCBoii (Poccna) 
[B03pacT ot 3 ^o 10 JieT], 

Music Motion System (MusMotion) By Stephanida Rudneva (Russia) 

[age from 3 before 10 years]. 
http://idvm.chat.rU/texts/4146.htm#begin 
http ://idvm.chat.ru/texts/4143 ,htm#begin 


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TOM 5. 


CpemraecKaa nnacTHKa ot T. C. H h k o ji a c h k o - n p c 6 p a >i< c h c k a a (CaHKT-IIeTep6ypr). 
Scenic Plastic Arts By T.S.Nikolaenko-Prebrazhenskaya (St. Petersburg). 
http://idvm.chat.rU/texts/4144.htm#begin 
http://idvm.chat.rU/texts/4142.htm#begin 

TOM 6. 

TapMOHHuecKaa xopeorpacjma u TAPMOHHHECKHH KAHOH b TaHpe. 

The Harmonic Choreography and HARMONIC CANON in dance. 

http://idvm.chat.rU/texts/4139.htm#begin 

http://idvm.chat.rU/texts/4138.htm#begin 


* 


http://idvm.w.pw/texts/bibe/rosenberg.htm 

http://idvm.netfast.org/texts/bibe/rosenberg.htm 

http://idvm.freevar.eom/texts/bibe/rosenberg.htm#begin 

http://idvm.narod.rn/texts/bibe/rosenberg.htm 

http://idvm.chat.rU/texts/bibe/rosenberg.htm#begin 


© open resource 


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